I-A
I-B
I-C
I - D
I-E
II-A
II - B
III -A
III - B
IV- A
IV- B
V-A
V-B
VI - A
VII - A
VIII -A
i
TABLE OF CONTENTS
Preface
Opening Remarks
Prizes and Awards
Enrollment Statistics
Named Fellowships
TMC Members and Addresses
BUTI Members and Addresses
Administration and Faculty-
Administration and Faculty Addresses
TMC Schedules
TMC Concert Programs
BUTI Schedules
BUTI Concert Programs
Brochures/Publicity
Notices/Memos/Student Information
Repertoire Summary
Digitized by the Internet Archive
in 2016
https://archive.org/details/tanglewoodmusicc1986bost
1986 SESSION - PREFACE
"More and more it seems to me that the heart of Tanglewood is the
Tanglewood Music Center. This is not to slight the BSO . On the contrary,
it's to the BSO's credit. The BSO, after all, sponsors the school and
furnishes much of the faculty." So wrote Berkshire Eagle music critic
Andrew Pincus at the end of this summer, and he may well be expressing a
general consensus. In a host of important ways the Music Center acts as a
revitalizing influence on the Boston Symphony Orchestra, the place where
-- for eight brief and intense weeks each season -- new music and young
musicians interact with established masters of the art in the incomparable
Tanglewood milieu.
Artistic Director Leon Fleisher has now begun to make his presence felt,
and certain elements of the Fellowship Program have experienced a further
strengthening. The orchestral training program, always at the center of
activities, included concerts under the direction of Seiji Ozawa
(Beethoven Seventh), Gustav Meier (excerpts from Wagner's "Tannhauser " ) ,
Leon Fleisher (Rachmaninoff Second) , Leonard Bernstein (an unforgettable
Sibelius Second) , Leon Kirchner (Stravinsky Symphony in Three Movements) ,
Gennady Rozhdestvensky (Shostakovich Tenth) , as well as our four Fellows
in Conducting, and our Composer in Residence (also a gifted conductor and
himself a former Fellow) Oliver Knussen, in an exciting, challenging
program of new orchestral music. Mr. Knussen acted both as Composer in
Residence and as Director of the 1986 Festival of Contemporary Music, a
dual role which afforded almost every member of the Fellowship Program the
opportunity to work with him. His success in these roles led Mr. Fleisher
to invite Knussen to return to the TMC next season, at which time he will
become Coordinator of Contemporary Music Activities. Composers in the
Fellowship Program, in addition to private lessons with Mr. Knussen, had
meetings with guest teachers including Danish composer Poul Ruders ,
English composer Robert Saxton, Pulitzer Prize -winning American George
Perle (who will become Composer in Residence for the 1987 session), and
the eminent Japanese composer Toru Takemitsu. Chamber Music studies, under
the overall supervision of Gilbert Kalish, comprised weekly performances
by Fellows who had been coached by a faculty which (in addition to Mssrs.
Fleisher and Kalish) also included Peter Serkin, Joel Krosnick, Louis
Krasner, Julius Levine, Donald MacCourt, Eugene Lehner, Roger Voisin,
Yehudi Wyner, many members of the Boston Symphony Orchestra, and, as part
of a special residency, the other members of the Juilliard String Quartet.
And celebrating her fortieth year at Tanglewood, soprano Phyllis Curtin
again offered her unique classes in the vocal arts to some very fortunate
young singers. Taken together, these artists are a faculty of exceptional
calibre, a resource simply not available anywhere else in the world
The presence of the entire Juilliard Quartet also marked the beginning of
a Chamber Ensemble Residency at Tanglewood, a component of the Fellowship
page 2
Program designed to allow a young ensemble to remain together for study
and performance throughout the Tanglewood season. The first participants
in this program were an exciting young string quartet from New York City,
the Cassatt Quartet, who were presented in recital at the end of
the 1986 Tanglewood season.
The Boston University Tanglewood Institute, now twenty-one years old and
thriving, again offered programs in vocal and instrumental music,
composition, and piano to participants of high school age, as well as
specialized seminars for flutists, harpists, brass ensemble players, and
students of analysis. The Institute is co-sponsored by the University's
School for the Arts and by the TMC , a partnership of unique value to both
institutions .
No Tanglewood season would be complete without a rousing finale --
Tanglewood on Parade -- and this year's event (on the one sunny day in an
otherwise especially rainy and gray summer) drew a near-record crowd of
over 17,000 to the Music Center for a day full to overflowing with
chamber, vocal, orchestral concerts, and other festive events from Alpine
horn demonstrations to bagpipe bands and hot air balloons. Tanglewood on
Parade is presented as a benefit for the TMC, this season contributing a
substantial sum to help offset the Music Center's operating deficit.
As the Tanglewood Music Center approaches its 50th anniversary year, and
as musicians and music-lovers nationwide stop to take notice of this
extraordinary endeavor and its ongoing contributions to the cultural life
of our time, it becomes clear that Koussevitzky ' s visionary dream remains
an exciting, vital part of the Boston Symphony's family of activities, one
in which special pride is taken by all those who contribute, whether as
participants or as supporters.
Richard Ortner
Administrator
Administrative Director
OPENING EXERCISES
July 1, 1986 at 2:00 p.m.
Theatre Concert Hall Tanglewood
Welcome
Daniel R. Gustin
Acting General Manager
Boston Symphony Orchestra
Greetings
Nelson Darling
President
Boston Symphony Orchestra
Phyllis Curtin
Dean, School for the Arts
Boston University
Remarks
Leon Fleisher
Artistic Director
Tanglewood Music Center
Bachi Chaconne in d minor
(arranged for piano left hand
by Brahms)
Leon Fleisher, pianist
Remarks
Richard Ortrier
Administrator
Tanglewood Music Center
Randall Thompson "Alleluia"
Students of the 1986 Tanglewood Music Center
John Oliver, conductor
Refreshments in the Formal Gardens
Baldwin Piano
1 ang 1 cwood Music Conlci
Opening Remarks - July 1, 1986
Leon Fleisher
As I look out over these beautiful young faces, I am overwhelmed with
the realization: "This is my first batch." I feel like a born-again father! -
with the same anxieties, the same trepidations, the same anticipations . Thank
heavens for such a loving administration and faculty of well-practiced
nursemaids and babysitters.
If one pressed me for a title for my few remarks today, I would probably
respond "There is more than one torch", this being the summer of the torch. [In
case you haven’t heard, the torch of the statue of liberty in the NY/NJ harbor.]
Well, there’s another torch, one that guides us not just for one summer but
for all our lives and that is the "torch of dreams and ideals". It casts
such a blazing light as to make it as easy to follow as the sun itself. One
of its most significant and stalwart bearers was Serge Koussevitzky and it is in
the pursuance of his ideals and because of the power of his dream that there
is a Tanglewood and that you are here today. Wise and canny old Koussevitzky
knew full well that though the future of the world may and does lie in your
hands, for the present there is still much that can be learned from us older
folk. And so this ideal community of creators and recreators, where we all
listen to one another and where we all learn from one another.
In the past. Western civilization has followed a path of particularization,
of analysis, the breaking down into ever smaller components as the way to
understanding life and excistence. Koussevitzky understood the danger and
even futility of this approach and strongly advocated pe- integration , the
synthesis of the particular and the general in order to re-establish an
understanding of man’s purpose on this planet. In fact, it was exactly 40
years ago yesterday, at the dedication of the Berkshire Music Center, that
2
Koussevitzky said,
"If we conceive culture as part of the spiritual life of a people,
and the political state as part of its organic life, then their
dissociation becomes a great evil and is now intolerable."
And sure enough, even the scientific community has come to the realization
and acknowledgment that the kind and intensity of concentration, the altered
state of consciousness, the heightened awareness that accompanies musical
creativity and musical Inspiration is probably closer to the answer of what
is reality than anything propounded thus far - that the ultimate reality is
consciousness .
Let me read to you a statement of Albert Einstein:
(the theory of relativity) occured to me by intuition, and
music is the driving force behind this intuition. My parents
had me study the violin from the time I was 6. My new discovery
is the result of musical perception."
- Story of Schnabel and Einstein -
One more quote from another of our giant figures, Buckminster Fuller:
"In your music-education world. . . it is important that
you realize that within the next ten years, the world of
science may be turning to the world of music for leadership
in fostering ... capabilities of evoluting life. You who
deal with the music of the universe . . . may find yourself
called upon to perform its most responsible task allowing
life to succeed."
"Quantum mechanics, the most sophisticated branch of modern physics, has
demonstrated that at the basis of the physical universe lies the ground state,
or vacuum state. This is a field of perfect orderliness - non-moving, silent,
and unbounded. It is a virtual field of infinite energy and intelligence -
3
a field of perfect Harmony, which in its various fluctuations, gives rise to
the entire manifest creation, the world around us.
Extensive and significant research into what psychophysiologists call
the state of "least excitation of consciousness" has shown remarkable parallels
between the basis of the physical universe and the basis of the thinking
process. Thus, although seemingly different, the human mind and the external
world are now postulated to have one common source."
You are here today because you are all exceedingly gifted young musicians,
possessed not only of the ability to get around most admirably on your
instrument, but possessed also of the capability of producing beautiful and
meaningful music. There is really only one prerequisite for making it at
Tanglewood. One, seemingly self-evident, is that you really love music.
Not just the sportive, physical activity and not just because it might be
a source of "cookies", but because anything and everything that happens in
a piece of music is a matter of earth-shaking importance, a matter of life
and death. The smallest event becomes meaningful: the resolution of a ^ step
suspension, the difference between piano and mezzo piano. An example of
one of the many puzzles that I still haven't figured out:
- Brahms d minor example -
This means constantly sensitizing and resensitizing oneself. And in a
troubled and troubling world where one spends much of one's time defending
against some of the horrors with which daily we are faced, that can be
difficult. At the same time we all know of the danger of over-indulgence
in details, mooning and sighing over favorite exquisities, the danger of
losing shape and structure. Walking that thin tightrope, riding in and
out of a multitude of dimensions, tightening and releasing the tension of
4.
page 2
Program designed to allow a young ensemble to remain together for study
and performance throughout the Tanglewood season. The first participants
in this program were an exciting young string quartet from New York City,
the Cassatt Quartet, who were presented in recital at the end of
the 1986 Tanglewood season.
The Boston University Tanglewood Institute, now twenty-one years old and
thriving, again offered programs in vocal and instrumental music,
composition, and piano to participants of high school age, as well as
specialized seminars for flutists, harpists, brass ensemble players, and
students of analysis. The Institute is co-sponsored by the University's
School for the Arts and by the TMC , a partnership of unique value to both
institutions .
No Tanglewood season would be complete without a rousing finale --
Tanglewood on Parade -- and this year's event (on the one sunny day in an
otherwise especially rainy and gray summer) drew a near-record crowd of
over 17,000 to the Music Center for a day full to overflowing with
chamber, vocal, orchestral concerts, and other festive events from Alpine
horn demonstrations to bagpipe bands and hot air balloons. Tanglewood on
Parade is presented as a benefit for the TMC, this season contributing a
substantial sum to help offset the Music Center's operating deficit.
As the Tanglewood Music Center approaches its 50th anniversary year, and
as musicians and music-lovers nationwide stop to take notice of this
extraordinary endeavor and its ongoing contributions to the cultural life
of our time, it becomes clear that Koussevitzky ' s visionary dream remains
an exciting, vital part of the Boston Symphony's family of activities, one
in which special pride is taken by all those who contribute, whether as
participants or as supporters.
a line like a great angler, finding those hot air drafts that make music
soar like a great bird, that's what it's all about. That's an exhilaration.
Music: an adventure in anti-gravity ! When it all works that's the real
ecstasy - that's the incomparable, the only really meaningful high. All
others, artificially or chemically arrived at are but impoverished
substitutions and are ultimately shortlived and potentially deadly.
As for our composers you are the true voices of the present and
hopefully of the future and we are basically here as your servants. So
from time to time, come down from your aerie at Seranak, listen to rehearsals of
chamber music as well as of orchestra, join with us in discussion and
instruct us in your visions. Contamination need not be inevitable.
For the next couple of months you are all going to form a great number
of teams. How lucky. For no matter how satisfying solo music-making can
be, there is no joy quite like chamber music, simply because it is an
experience shared. Even on the orchestral level, to have almost 100 people
zeroed in on a single, unified concept can result, if you are fortunate enough
to have an inspired conductor, in something little short of miraculous.
So, pianists listen to the strings, winds, and brass and learn about the
sustaining of a long line and the possibility of varieties of attack. :
Strings, winds and brass listen to pianists and begin to hear more vertically.
All of you listen to the percussion and learn about rhythm which is the
pulse and heartbeat of music. And when that's done all of you go and
listen to the singers for as music pours from the soul it pours most
unfailingly through the voice. It need never be inevitable that one wind
up bored, dulled, routinized. Your commitment to the vitality of the
process will bring its own aliveness and will help transform others. That
is one of the convictions you will take with you from Tanglewood.
Before closing, I want to make mention of a new activity taking place
at Tanglewood this summer. It is no secret that sports medicine has emerged,
in recent years, as an important and discrete aspect of medical care. It is also
no secret that musicians are subject to inordinate stresses and strains in
the practice and performance of their professions. There was a study made
by a team of Viennese psychologists into the stress level experienced by
musicians during a performance. This study was carried out with the help of
members of the Vienna Philharmonic. I don't know how this equivalence was
arrived at but the results of the study indicated that the stress of one
performance for a musician in the Vienna Philharmonic Orchestra was equivalent
to 168 take offs and landings of a commercial airplane pilot.
We've all experienced those little aches and pains that come with everyday
practicing. Most of it is eminently ignorable. Some of it however could be
indicative of an unnatural, possibly incorrect manner of movement. Or simply
due to the fact that in our concentration we fall into postures that are
basically unhealthy. We will have with us for a few days this summer, someone
who is very experienced in movement, in dealing with those discomforts that
arise as a result of improper and eventually harmful movements and/or the
prolonged repetition there of. Anat Baniel is a teacher in and of a discipline
named after its founder, Moshe Feldenkreis and I can guarantee you, she will
bring enlightenment and a new understanding to your every movement at the
instrument as well as away from it. Seiji has promised to join us as will
Dan Gustin, Richard Ortner, members of the faculty and administration and
myself .
Most of you are here in Tanglewood for the first time and some of you
are away from home for the first time. It can all be pretty overwhelming
if not, in some cases, almost frightening. I shall never forget when I first
left home to go to camp. The mix of emotions, elation, the anticipation.
6
the excitement, the fear that finally I might be found out as the vile
wretch I really was. My inner turmoil was so great 1 didn't go to the john
for a week.
So now go out and have a great summer. The old bromides are still
valid: love and cherish one another; treat each other as you would yourselves
with care and consideration and understanding. Remember and relish the words
of John Milton in Paradise Lost, "Music is the greatest good that mortals know
and all of heaven we have below." You have an incredible faculty ready and eager
to pass on what they've learned in their lifetime: your torch is waiting
to be grasped. Why not go for it!
\
Prizes and Awards Listing is missing
TANGLEWOOD MUSIC CENTER
AUDITION AND APPLICATION STATISTICS
1986 SESSION
INSTRUMENTAL: 785 auditions heard
CONDUCTING: 110 applications
cons idered
CHAMBER ENSEMBLE RESIDENCY:
VOCAL: 254 auditions heard
COMPOSITION: 100 applications
considered
12 applications considered
LOCATION # OF APPLICANTS
LOCATION # OF APPLICANTS
String Auditions: Piano Auditions :
Boston
41
Boston
18
Chicago
25
Los Angeles
3
Cleveland
21
New York
28
Los Angeles
8
Rochester
4
San Francisco
7
San Francisco
5
New York
70
Taped
9
Rochester
3
TOTAL:
67
Taped
15
TOTAL:
190
Vocal /Vocal Coach Auditions:
Woodwind Auditions
Austin
9
Boston
72
Boston
44
Cleveland
19
Chicago
44
Greensboro, NC
16
Cleveland
30
Los Angeles
25
Los Angeles
16
New York
77
New York
113
Urbana, IL
12
San Francisco
9
Taped
24
Taped
22
TOTAL
254
TOTAL:
278
Chamber Ensemble Residencv Auditions
Brass Auditions:
New York auditions
9
Boston
51
San Francisco auditions
2
Chicago
42
TOTAL Applications received
12
Cleveland
12
Los Angeles
12
Conducting Auditions:
New York
75
San Francisco
8
Boston auditions
32
Taped
6
TOTAL Applications received
110
TOTAL:
206
Composition Applications:
Percussion Auditions:
TOTAL
100
Boston
10
Cleveland
8
New York
15
Taped
_3
TOTAL:
36
TOTAL NUMBER OF APPLICANTS:
1,261
Harp Auditions:
Boston 4
Cleveland 4
8
TOTAL:
TMC Aud i t i ons 1 986
Instrumental auditions took place in:
Boston, MA
Ch i cago, 1 L
Cleveland, OH
Los Angeles, CA
San Francisco, CA
New York, NY
Vocal auditions took place in:
Austin, TX
Boston, MA
Cleveland, OH
Greensboro, NC
Los Angeles, CA
New York, NY
U rbana , I L
Conducting auditions took place in Boston, MA.
Ensemble Residency auditions took place in New York, NY, and San Francisco, CA.
String Instrument Committee Pi ano Commi ttee
Louis Krasner
Joel Krosnick
Larry Wolfe
Woodwind Committee
Donalo MacCourt
Fenw i ck Smith
Leon Fleisher
Gi lbert Kal ish
Composition Committee
01 i ver Knussen
B rass Comm i t tee
Ensemble Residency Committee
Harry Shapi ro
Roger Voisin
Leon Fleisher
Gi 1 be rt Ka 1 i sh
Louis Krasner
Ju 1 i us Levi ne
Yehuai Wyner
Joe 1 Krosn i ck
Vocal Committee
Conducting Committee
Terry Decima
Margo Garrett
Dennis He 1 mr i ch
*Jh i I H i gh fill
John 01 i ver
Leon Fleisher
Gi 1 bert Kal i sh
Gustav Meier
Seiji Ozawa
* .
f
Tanglewood Music Center
1986 Fellowship Program
Violins
Julia Baumgartel, White Rock, British Columbia
Gerald Gelbloom Memorial Fellowship
Karen Bentley, Palo Alto, California
Luke B. Hancock Foundation Fellowship
Margaret Bichteler, Austin, Texas
Harriet B. Harris Memorial Fellowship
Dionisia Fernandez, Upper Saddle River,
New Jersey
Leonard Bernstein Fellowship
Lydia Forbes, Cambridge, Massachusetts
Frederic and Juliette Brandi Fellowship
Annamae Goldstein, Blauvelt, New York
Philip and Bernice Krupp Fellowship
Ling Ling Guan, Beijing, China
Jane and William Ryan Fellowship &
Idah L. Salzman Fellowship
Helena Hagglund, Vasteras, Sweden
Jenifer House Fellowship
Kathy Haid, Union, New Jersey
Geraldine R. Dodge Foundation Fellowship
Maile Kali, Tucson, Arizona
Leo Panasevich Fellowship
Soo-Yeon Kim, Seoul, Korea
Boris A. and Katherine E. Jackson Fellowship
Mari Kimura, Tokyo, Japan
Brookline Youth Concerts Awards Committee
Fellowship
Katie Lansdale, Bethesda, Maryland
Country Curtains Fellowship
Steve Miller, New York, New York
Morris A. Schapiro Fellowship
Jennifer Moreau, Christchurch, New Zealand
Stanley Chappie Fellowship
Sara Parkins, San Francisco, California
Northern California Fund Fellowship
Zhou Qian, Hang Zhou, China
Bradley Fellowship
Adriana Rosin, Bucharest, Romania
Haskell R. and Ina Gordon Fellowship
Andrew Schast, Philadelphia, Pennsylvania
Edward John Noble Foundation Fellowship
Mari Sone, Tokyo, Japan
C D. Jackson Fellowship
Elizabeth Suh, Overland Park, Kansas
Carole K. Newman Shared Fellowship &
Sigma Alpha lota Philanthropies Inc.
Fellowship
Marta Szlubowska, Warsaw, Poland
Alice Kandell Fellowship
Megumi Teshima, Saitama, Japan
Lucy Lowell Fellowship
James Tsao, Gjjlver City, California
Boston Symphony Orchestra Fellowship
EtsukoTsuchida, Tokyo, Japan
Tanglewood Association Fellowship
Bing Wang, Shanghai, China
Dorothy and Montgomery Crane Fellowship
Caroline Wolff, New York, New York
Surdna Foundation Fellowship
ArieYaacobi, Hadar, Israel
Koussevitzky Music Foundation Fellowship
in memory of Margaret Grant
Violas
Davoren Chick, Acton, Massachusetts
General Cinema Corporation Fellowship
Mercedes Leon, New York, New York
Anonymous Fellowship
Rifat Qureshi, Don Mills, Ontario
Marion Callanan Memorial Fellowship
Ernest Richardson, Phoenix, Arizona
Berkshire County Savings Bank Fellowship &
Florence and Leonard Kandell Fellowship
Jenny Ries, Kensington, Maryland
Israel Kalish Memorial Fellowship
Lynn Rilling, Salt Lake City, Utah
General Electric Plastics Fellowship
David Rubinstein, Lansdale, Pennsylvania
Claire and Millard Pryor Fellowship
Karen Sanders, San Diego, California
Stephen and Persis Morris Fellowship
Anna Schaum, Atlanta, Georgia
Mr. and Mrs. Robert E. Remis Fellowship
Katrina Smith, Chesterton, Indiana
James A. Macdonald Foundation Fellowship
Tomoko Suzuki, Toyko, Japan
Harry and Mildred Remis Fellowship
Trung LeTrinh, Houston, Texas
Albert L. and Elizabeth P. Nickerson Fellowship
Cellos
Bryndis Baldursson, Kentvi I le. Nova Scotia
Leo L. Beranek Fellowship
Matthew Barley, London, England
Leonard Bernstein Fellowship
Andres Diaz, Santiago, Chile
Omar Del Carlo Tanglewood Fellowship
Rachel Gruber, Cleveland Heights, Ohio
Naomi and Philip Kruvant Fellowship
Trevor Handy, Belmont, Massachusetts
Baybanks Fellowship
Katja Linfield, Stony Brook, New York
Dr. Marshall N. Fulton Memorial Fellowship
Karl Parens, Wynnewood, Pennsylvania
Mr. and Mrs. Thomas H.P. Whitney Fellowship
Andreas Sami, Fuellinsdorf, Switzerland
Mr. and Mrs. David B. Arnold , lr. Fellowship
Emma Schaling, Newton Centre, Massachusetts
C.D. Jackson Fellowship
Steven Sigurdson, Western Springs, Illinois
luliet Esselborn Ceier Memorial Fellowship
Michael Stirling, London, England
British Broadcasting Corporation Fellowship
Samuel Swift, Lansing, Michigan
Ruth S. Morse Fellowship
Owen Young, Pittsburgh, Pennsylvania
Joseph and Lillian Miller Fellowship
Basses
Jerome Butler, Sarasota, Florida
Hodgkinson Fellowship
Aldo Fabrizi, Norwood, Massachusetts
Berkshire Life Insurance Co. and F-Mton Inn
Fellowship
lanne Johansson, Gothenberg, Sweden
Lia and William Poorvu Fellowship
Keith Kawazoe, Soquel, California
Koussevitzky Music Foundation Fellowship
Jennifer Matteson, Canton, New York
Cecil S. Mapes Memorial Fellowship &
Dr. and Mrs. Alexander B. Russell Fellowship
Henry Peyrebrune, Delmar, New York
Harry and Mildred Remis Fellowship
Guy Tyler, Burlington, Massachusetts
Alfred E. Chase Fellowship
Flutes
Joanna Bassett, Ann Arbor, Michigan
The Dillon Fund Fellowship
Jacqueline DeVoe, Lansdale, Pennsylvania
Frederick W. Richmond Foundation
Fellowship
Adam Kuenzel, Charleston, South Carolina
Irma Fisher Mann Fellowship
Amy Porter, Wilmington, Delaware
Miriam Ann Kenner Memorial Fellowship
Mark Sparks, San Antonio, Texas
Rosamund Sturgis Brooks Memorial
Fellowship
Oboes
Elizabeth Baker Stoyanovich, Ann Arbor,
Michigan
Augustus Thorndike Fellowship
Jonathan Blumenfeld, Philadelphia,
Pennsylvania
Brownie and Cil Cohen Fellowship
Eric Olson, Pennington, New Jersey
Fernand Gillet Memorial Fellowship
Jane Rhoads, Winter Park, Florida
Anna Cray Sweeney Noe Fellowship
Alexa Zirbel, Janesville, Wisconsin
Katherine H. Metcalf Fellowship &
Mr. and Mrs. Kenneth Warner Pfleger
Memorial Fellowship
Clarinets
Virginia Lee Carroll, Greenwood, Mississippi
Julius and Eleanor Kass Fellowship
Todd Palmer, Hagerstown, Maryland
Herbert and Jeanine Coyne Fellowship
Larry Passin, Fort Wayne, Indiana
The Clowes Fund Fellowship
Duncan Prescott, Reading, England
English Speaking Union Fellowship
Michael Rusinek, Thornhill, Ontario
J.P. and Mary Barger Fellowship
Bassoons
Eric Beselin, Stockholm, Sweden
Sara Ann Leinbach and Lilian Norton
Fellowship
Silvia Coricel I i , New York, New York
Olivetti Foundation Fellowship
Jon Gaarder, Madison, Wisconsin
Charles and Sara Goldberg Charitable Trust
Fellowship
Timothy McGovern, Newark, Delaware
Robert G. McClellan, Jr. and IBM Matching
Grant Fellowship
Patricia Paulson, Boise, Idaho
Archie Peace Memorial Fellowship
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Horns
Tod Bowermaster, Ottawa, Illinois
Betty O. and Richard S. Burdick Fellowship
Robert Danforth, Grand Rapids, Michigan
David R. and Muriel K. Pokross Fellowship
Linda DeRoche, Rehobeth, Massachusetts
Theodore Fdson Parker Foundation Fellowship
Daniel Schulze, New Canaan, Connecticut
Frelinghuysen Foundation Fellowship
Ellen Tomasiewicz, New York, New York
Surdna Foundation Fellowship
William Ver Meulen, Lake Forest, Illinois
Karl Burak Memorial Fellowship
Trumpets
Anthony DiLorenzo, Stoughton, Massachusetts
Armando A. Chitalla Fellowship
Patrick Kunkee, Goleta, California
Empire Brass Fellowship
Wesley Nance, Lakewood, California
Robert and Sally King Fellowship
Brian Rood, Ann Arbor, Michigan
Caroline Crosvenor Congdon Memorial
Fellowship
Mary Weber, St. Louis, Missouri
Leonard Bernstein Fellowship
Trombones
Ron Carrera, Sacramento, California
Dynatech Fellowship
Scott McElroy, Ann Arbor, Michigan
Arthur Fiedler/ Leo Wasserman Fellowship
Harold Van Schaik, Dallas, Texas
Esther Engel Salzman Fellowship &
Frieda and Samuel Strassler Fellowship
Michael Zion, Newark, Ohio
Daphne Brooks Prout Fellowship
Tub a
Jeffrey Jarvis, East Lansing, Michigan
Boston Showcase Co. Fellowship
Percussion
Timothy Adams, Covington, Georgia
Nat Cole Memorial Fellowship
David Hall, Concord, Massachusetts
Red Lion Inn Fellowship
John Jutsum, Astoria, New York
Stuart Haupt Fellowship
Alan Megna, Pottsville, Pennsylvania
Anonymous Fellowship
Robert Patterson, Perkinsville, Vermont
Abby and loe Nathan Fellowship
Scott Stirling, Pittsburgh, Pennsylvania
Donald Bellamy Sinclair Memorial Fellowship
Harps
Mia Axon, Ann Arbor, Michigan
John and Susanne Crandin Fellowship
Alice Harlow, Garden City, Michigan
Kathleen Hall Banks Fellowship
Keyboard
Carol Archer, Shaker Heights, Ohio
The Hon. and Mrs. Peter I.B. Lavan Fellowship
Kevin Kenner, Coronado, California
Mr. and Mrs. Vincent /. Lesunaitis Fellowship
Benjamin Loeb, Dallas, Texas
William F. Rubush Memorial Fellowship
Erika Nickrenz, New York, New York
Peggy Rockefeller Fellowship
Saiko Sasaki, Saitama, Japan
Felicia Montealegre Bernstein Fellowship
Daniel Shapiro, Corono del Mar, California
R. Amory Thorndike Fellowship
Michal Tal, Tel Aviv, Israel
Mr. and Mrs. Edwin A. jaffe Fellowship
Conductors
Mark Gibson, Minneapolis, Minnesota
Leonard Bernstein Fellowship
Richard Hoenich, Montreal, Quebec
H. Eugene and Ruth /ones Fellowship
Romely Pfund, Dessau, East Germany
Seiji Ozawa Fellowship
Richard Westerfield, Pound Ridge, New York
The William and Mary Creve Foundation
Fellowship
Vocal Fellows
Drew Abbott, Marietta, Georgia
WCRB Fellowship in honor of Sarah Caldwell
Amy Clark Aliapoulios, Jamaica Plain,
Massachusetts
Bessie Pappas Fellowship
Lila Ammons, Worthington, Ohio
Leonard Bernstein Fellowship
Dennis Bender, Ontario, Canada
Alice Tully Fellowship
Salvatore Champagne, New York, New York
Tappan Dixey Memorial Fellowship
Alicia Cordell, Tucson, Arizona
Francis and Caryn Powers Fellowship
William Cotten, Brookline, Massachusetts
Seven Hills Fellowship
Walter Dixon, Culver City, California
Mrs. Harris Fahnestock Fellowship
Anne DeVries Richardson, Phoenix, Arizona
Mildred H. Leinbach Fellowship
Roger Saylor, New York, New York
Hannah and Raymond Schneider Fellowship
Darnelle Scarbrough, Dorchester, Massachusetts
Harry Stedman Fellowship
Allison Swenson, Santa Rosa, California
C.D. lackson Fellowship
Vocal Coaches
Michael Beattie, Waltham, Massachusetts
Lilian and Lester Radio Fellowship &
Hugh Cecil Sangster Memorial Fellowship
Thomas Dewey, Sellersburg, Indiana
Stokes Fellowship
Kenneth Grigg, Winston-Salem, North Carolina
Baldwin Piano and Organ Co. Fellowship
Jeffry Johnson, Kansas City, Missouri
Marie Gillet Fellowship
Margaret Kampmeier, Rochester, New York
Miriam E. Silcox Fellowship
Composers
Jeffrey Bitzer, New York, New York
Reader's Digest Fellowship
Dana Brayton, Jamaica Plain, Massachusetts
Margaret 7. and Bruce R. Celin Fellowship
Marti Epstein, Allston, Massachusetts
ludith and Stewart Colton Fellowship &
Claudette Sorel/Mu Phi Epsilon Fellowship
Michael Gandolfi, Melrose, Massachusetts
Margaret Lee Crofts Fellowship
Detlev Glanert, Aumuhle, West Germany
Boston Symphony Orchestra Fellowship
Harue Kunieda, Tokyo, Japan
Tanglewood Association Fellowship
Param Vir, Delhi, India
Margaret Lee Crofts Fellowship
Andrew' Vores, Hants, England
Koussevitzky Music Foundation Fellowship
Jay Yim, Cambridge, Massachusetts
Aaron and Abby Schroeder Fellowship
Chamber Ensemble Residency
Cassatt Quartet, New York, New York
Laurajean Goldberg, violin
Edward John Noble Foundation Fellowship
Adela Pena, violin
Helene R. and Norman Cahners Fellowship
Eufrosina Raileanu, viola
C.D. Jackson Fellowship
Anna Cholakian, cello
Charles E. Culpeper Foundation Fellowship
Other Participants
Seminar for Conductors
Justin Brown, Haywards Heath, England
Leonard Bernstein Scholarship
Inge Fabricius, Copenhagen, Denmark
Edward H. Michaelson Scholarship
Arthur Post, New York, New York
William and Mary Greve Foundation
Scholarship
Wing Sie Yip, Kowloon, Hong Kong
Koussevitzky Memorial Scholarship
Phyllis Curtin Seminar for Singers
Anne McMillan, Forest Hills, New York
Mead Specialty Paper Scholarship
Teri Medley, Fairfax, Virginia
William E. Crofut Family Scholarship
Anna Moser, Stockdorf, West Germany
Barbara Lee/ Raymond Lee Foundation
Scholarship
Barbara Nunes, West Warwick, Rhode Island
Anonymous Scholarship
James Ruff, San Diego, California
Mr. and Mrs. lames S. Deely Scholarship
Johanna Thompson, Houston, Texas
Mr. and Mrs. Macy Rogovin Scholarship
The TANGLEWOOD MUSIC CENTER acknowledges with gratitude the support and donation
of equipment by the Avedis Zildjian Co., Norwell, Massachusetts.
TANGLEWOOD MUSIC CENTER 1986
FORWARDING ADDRESSES
Violins
Baumgartel, Julia
Bentley, Karen
Bichteler, Margaret
Fernandez, Dionisia
Forbes, Lydia
Goldstein, Annamae
Guan, Ling Ling
Hagglund, Helena
Haid, Kathy
Kali, Maile
Kim, Soo-Yeon
Kimura, Mari
Lansdale, Katie
Miller, Steve
Moreau, Jennifer
Parkins , Sara
Qian, Zhou
Rosin, Adriana
Schast, Andrew
Sone , Mari
Suh, Elizabeth
Szlubowska, Marta
Teshima, Megumi
Tsao, James
Tsuchida, Etsuko
Wang, Bing
Wolff, Caroline
Yaacobi, Arie
715 E Hunter, Bloomington, IN 47401 -or-
3652 Elgin Rd. , White Rock, B.C. V4A 2Y9
500 S Fess Ave . , Bloomington, IN 47401 -or-
1357 Cowper St., Palo Alto, CA 94301
816 E Hunter #3, Bloomington, IN 47401 -or-
1102 Live Oak Rdg., Austin, TX 78746
30 W 70th St. #3C , New York, NY 10023
3314 Yale Station, New Haven, CT 06520
170 West End Ave. , Apt. 3N, New York, NY 10023
7 Euston St. #11, Brookline, MA 02146
c/o Bailey, 701 Lombard St., Philadelphia, PA 19147
1931 Oakwood Parkway, Union, NJ 07083
4312 E 7th St., Tucson, AZ 85711
150 Huntington Ave. #NG-10, Boston, MA 02115
c/o Mrs. Hollomon, 121 Carlton St., Brookline, MA 02146
5506 Pollard Rd., Bethesda, MD 20816
Box 1020, Banff Centre for the Arts, Banff, Alberta, Canada
-or- 194 Riverside Dr., New York, NY 10025
1608 River St., Apt. 113, Hyde Park, MA 02136
32054 Bingham Rd. , Birmingham, Michigan 48010
606 St. Paul St. #322, Baltimore, MD 21202
240 W 98th St., Apt. 6A, New York, NY 10025
17 W 74 St., Apt. 2A, New York, NY 10023
Uchikoshi-cho 345-2-2-103 Hachioji-shi Tokyo 192 JAPAN
504 Whitney Ave. #1, New Haven, CT 06511
606 St. Paul St. Box 320B, Baltimore, MD 21202
2-4-1-101, Tate, Shiki-city, Saitama-pref . 353 JAPAN
175 W 79th St., Apt. 14A, New York, NY 10024
303 Nabeya Bid., 1-15-4, Sengawa-cho Chofu Tokyo 182 JAPAN
606 St. Paul St. #322, Baltimore, MD 21202
715 E Hunter, Bloomington IN 47401
176 Chestnut Ave. #2, Jamaica Plain, MA 02130
Violas
Chick, Davoren
Leon, Mercedes
Qureshi , Rifat
Richardson, Ernest
Ries, Jenny
Rilling, Lynn
Rubinstein, David
Sanders, Karen
Schaum, Anna
Smith, Katrina
Suzuki, Tomoko
Trinh, Trung Le
4 Brucewood Rd. , Acton, MA 01720
565 W 188 St. #42, New York, NY 10040
11 Hurlingham Cres., Don Mills, Ontario CANADA M3B 2P9
c/o 2601 Pine Ridge Rd. , Kalamazoo, MI 49008
OCMR Box 2402, Oberlin, OH 44074
12 Agassiz Pk. #1, Jamaica Plain, MA 02130
15 Roanoke Ave., Jamaica Plain, MA 02130
1726 Locust St., Philadelphia, PA 19103
295 Huntington Ave. #407, Boston, MA 02115
420 Whitney Ave. #11, New Haven, CT 06511
650 9th Ave. #8, New York, NY 10036
1749 Marshall St., Houston, TX 77098
Cellos
Baldursson, Bryndis
Barley, Matthew
Diaz , Andres
Gruber, Rachel
Handy, Trevor
Linfield, Katja
Parens , Karl
Sami , Andreas
Schaling, Emma
Sigurdson, Steven
Stirling, Michael
Swift, Samuel
Young, Owen
33 Evergreen St. #2, Jamaica Plain, MA 02130
27 Lordship Lane, London, N13 5JB GREAT BRITAIN
1608 River St., #113, Hyde Park, MA 02136
504 Whitney Ave . #1, New Haven, CT 06511
303 School St., Belmont, MA 02178
Box 1720, Oberlin College, Oberlin, OH 44074
650 9th Ave. #8, New York, NY 10036
Ob. Hofackerstr. 16, 4414 Fullinsdorf, Switzerland
33 Evergreen St. #2, Jamaica^ Plain , MA 02130
251 W 95th St., Apt. 5S, New’York, NY 10025
29 Greenwich Park, Boston, MA 02118
300 N Clemens, Lansing, Michigan 48912
15 Bishop St., Apt. 3, New Haven, CT 06511
Basses
Butler, Jerome
Fabrizi, Aldo
Johansson, Janne
Kawazoe, Keith
Matteson, Jennifer
Peyrebrune , Henry
Tyler, Guy
273 Babcock St., Box 1009, Boston, MA 02215
13 Lewis Ave. #1, Norwood, MA 02062
Malmo Symfoni Orkester, Box 2006, 200 12 Malmo', SWEDEN
260 Alturas Way, Soquel, CA 95073
7 Dwight St., Brookline, MA 02146
24 Westland Ave. #22, Boston, MA 02115
12 Taylor Ave., Burlington, MA 01803
Flutes
Bassett, Joanna
DeVoe , Jacqueline
Kuenzel, Adam
Porter, Amy
Sparks , Mark
779 East Ave., Rochester, NY 14607
318 Cowpath Rd., Lansdale, PA 19446
3423 Cornell PI., Cincinnati, OH 45220
2109 Broadway #14-54, New York, NY 10023
1318 W Adams Ave., Kirkwood, MO 63122
Oboes
Stoyanovich, Elizabeth
Blumenfeld, Jonathan
Olson, Eric
Rhoads, Jane
Zirbel, Alexa
3515 Greenbrier #5A, Ann Arbor, MI 48105
1500 Pine St., Apt. 401, Philadelphia, PA 19102
11 Morningside Dr., Pennington, NJ 08534
307 Moray Lane, Winter Park, FL 32792
1103 Vista Ave., Janesville, Wisconsin 53545'
Clarinets
Carroll, Lee
Palmer, Todd
Passin, Larry
Prescott, Duncan
Rusinek, Michael
3606 Brush Hill Rd. , Nashville, TN 37216
215 W 91st St. #96, New York, NY 10024
c/o Fort Wayne Phil., 222 W Berry, Fort Wayne, IN 46802
11, Bruton Way, Ealing, London W13 0BY, ENGLAND
71 Coral Harbour Cres . , Thornhill, Ontario L3T 2Z8 CANADA
Bassoons
Beselin, Eric
Coricelli, Silvia
Gaarder, Jon
McGovern, Timothy
Paulson, Patricia
Horns
Bowermaster, Tod
Danforth, Robert
DeRoche, Linda
Schulze, Daniel
Tomasiewicz, Ellen
Ver Meulen, William
Trumpets
DiLorenzo, Anthony
Kunkee , Patrick
Nance, Wesley
Rood, Brian
Weber, Mary
Trombones
Carrera, Ron
McElroy, Scott
Van Schaik, Harold
Zion, Michael
Tuba
Jarvis, Jeffery
Percussion
Adams, Timothy
Hall, David
Jutsum, John
Megna, Alan
Patterson, Robert
Stirling, Scott
Vindragarvagen 2 VI S- 11740 STOCKHOLM
67 Hanson Place, Apt. 11-C, Brooklyn, NY 11217
76 Day St. #3, Jamaica Plain, MA 02130
18 Marvin Dr., #C2 , Newark, DE 19713
c/o Boise Philharmonic Assoc., N 10th St.,
Suite 617, Boise, ID 83702
131 Forest Park Rd . , Ottawa, IL 61350
223 Lafayette NE #6, Grand Rapids, MI 49503
4718 E Seventh St., Long Beach, CA 90804
211 W 71st St., Apt. 10D , New York, NY 10023
188 Claremont #15, New York, NY 10027
1090 N Waukegan Rd. , Lake Forest, IL 60045
c/o Curtis Inst., 1726 Locust St., Philadelphia, PA 19103
7128 Geyser Ave . , Reseda, CA 91335
Eastman Residence Halls, Rm. 114M, 424 University Ave.,
Rochester, NY 14607
6093 W Stanley, Mt . Morris, MI 48458
2017 James St., Syracuse, NY 13206
5311 Virginia Way, Sacramento, CA 95822
5175 Liberty Rd. , Ann Arbor, MI 48103
2969 Sundial, Dallas, TX 75229
58 Boylston St., Jamaica Plain, MA 02130
620 S Maguire, Warrensburg, MO 64093
11308 Hessler St., Cleveland, OH 44106
Eastman Residence Halls, 424 University Ave.,
Rochester, NY 14607
34-07 45th St., Astoria, NY 11101
602 Main St., Pottsville, PA 17901
c/o RR 1, Box 48, Perkinsville , VT 05151
187 Sheldon Ave., Pittsburgh, PA 15220
Harps
Axon, Mia
Harlow, Alice
Keyboard
Archer, Carol
Kenner, Kevin
Loeb, Benjamin
Nickrenz, Erika
Sasaki, Saiko
Shapiro, Daniel
Tal , Michal
Conductors
Gibson, Mark
Hoenich, Richard
Pfund, Romely
Westerfield, Richard
Vocal Fellows
Abbott, Drew
Aliapoulios, Amy
Ammons, Lila
Bender, Dennis
Champagne , Salvatore
Cordell, Alicia
Cotten, William
Dixon, Walter
DeVries Richardson, Anne
Saylor, Roger
Scarbrough, Darnelle
Swenson, Allison
Vocal Coaches
Beattie, Michael
Dewey, Thomas
Grigg, Kenneth
Johnson, Jeffry
Kampmeier, Margaret
2016 Seneca, Ann Arbor, MI 48104
32600 Alvin, Garden City, MI 48135
244 W 103 St. #4, New York, NY 10025
606 St. Paul, Box 200 , -Baltimore , MD 21202
11441 E Ricks Cir., Dallas,' TX 75230
3 Sheridan Sq., New York, NY 10014
10 Dana St. #215, Cambridge, MA 02138
606 St. Paul St. #220, Baltimore, MD 21202
31 Bennet Ave . Apt. 31, New York, NY 10036
1235 Yale PI. #302, Minneapolis, MN 55403
4884 Jean Brillant, Montreal, Quebec H3W 1T6 CANADA
4502 Dessau, 127 Lindenstrasse , GDR
Everett Edward House, 44 Court St., Exeter, NH 03833
P.0. Box 257, Kenmore Station, Boston, MA 02215
59 Bynner St. #11, Jamaica Plain, MA 02130
123 W 13th St. #1207, New York, NY 10011
201 W 108th St. #21, New York, NY 10025
253 W 73rd St. #4K, New York, NY 10023
38 Holbrook St., Jamaica Plain, MA 02130
47 Strathmore Rd. #2, Brookline, MA 02146
38 Holbrook St., Jamaica Plain, MA 02130
c/o 2601 Pine Ridge Rd. , Kalamazoo, MI 49008
426 E 77th St., New York1, NY 10021
15 Beale St., Dorchester, MA 02124
3850 Montecito Ave., Santa Rosa, CA 95404
65 Pine St., Belmont, MA 02178
113 W 82nd St. (B-F), New York, NY 10024
4504 Speedway #212, Austin, TX 78757
1246 Commonwealth Avenue, Apt. 16, Allston, MA 02134
86 Reservoir Ave., Rochester, NY 14620
Composers
Bitzer, Jeffrey
Bray ton, Dana
Epstein, Marti
Gandolfi, Michael
Glanert, Detlev
Kunieda, Harue
Vir, Param
Vores , Andrew
Yim, Jay
414 W 120th St. #309, New York, NY 10027
91 Bynner St. Apt. 6, Jamaica Plain, MA 02130
17 Highgate St. #7, Allston, MA 02134
195 Upham St., Melrose, MA 02176
Martin-Luther-Str . 6, 2000 Hamburg 11, West Germany
2-3-22-104 Miyamaedaira Miyamaeku Kawasaki 213 JAPAN
c/o Ms. Madhu Suri, 415 E McCormick Ave . ,
State College, PA 16801
19, King Edward's Rd. , Hackney, London E9 7SF ENGLAND
32-B Bigelow St., Cambridge, MA 02139
Conducting Seminar
Brown, Justin
Colvin, Stephen
Fabricius, Inge
Ferrandis , Bruno
Harrigan, Anne
Kieft, Roland
Post, Arthur
Riedel, Rudolf
Rubardt, Peter
Yip, Wing Sie
61 Buckingham Rd. , London N1 ENGLAND
c/o Beth McGuire, 785 West End Ave. #7E, New York, NY 100
Hindegade 6, 1303 Kobenhavn K, DANMARK
136 Route de la Colie, 06800 Cagnes sur mer FRANCE
4204 Roland Ave., Baltimore, MD 21210
Jan van Eyckstr. 181 Amsterdam, THE NETHERLANDS
61 Rampart Rd., Norwalk, CT 06854
Weisbadener Str. 65, 6503 Mainz -Kastel , W. Germany
c/o Juilliard, Lincoln Center, NY 10023
4A Block 8, 16 La Salle Rd., Kowloon, HONG KONG
Phyllis Curtin Seminar
Aronson, Luann
Bouknight, Reginald
Carlisle, Mark
Chauvin, Ridley
Donovan, Michael
Emory, Katharine
Franko, Eva
Kramar, John
La Belle, Dominique
Lutter, Lisa
McMillan, Anne
Medley, Teri
Moser, Anna
Mouradjian, Joanne
Murray, Pamela
Nomura, Christopheren
Okrasinski, Jeanne
Peters, Karen
Rosenbaum, Susan
Ruff, James
Shayne , Michelle
Thompson, Johanna
Youmans -Nunes , Barbara
1213 Glendale Dr., Raleigh, NC 27612
2755 31st PI. NE, Washington D.C. 20018
704 S Walnut St., Brazil, IN 47834
182 W Brookline St. #2, Boston, MA 02118
3547 Decarie Blvd., Montreal, Quebec H4A 3J4 CANADA
153 Walden St., Cambridge, MA 02140
15 Grove St. #7, Boston, >MA 02114
10 Manhattan Sq. Apt.5W, Rochester, NY 14607
156 Terr. Gauthier, Laval, Quebec H7G 1E8
2043 W Farwell, Chicago, IL 60645
4 Dartmouth St. #32, Forest Hills, NY 11375
91 Hillside St. #2, Roxbury, MA 02120
Gautingerstr . 11 8035 Stockdorf. -op-
Hauptstr. 27, 8069 Schweitenkirchen , W Germany
12 Carver Rd., Cranston, RI 02920
1277 Commonwealth Ave. #108, Allston, MA 02134
32 Mall Court, Oakland, CA 94611
38 Holbrook St., Jamaica Plain, MA 02130
1201 Ortega St., San Francisco, CA 94122
Swarthmore College, Swarthmore , PA 19081
38 Holbrook St., Jamaica Plain, MA 02130
175 South Swan St., Albany, NY 12210
3110 Greenbriar Dr. #5, Houston, TX 77098
56 Deerfield Ct., North Kingstown, RI 02852
Auditors
Bordo , Guy
Cons tantineau , Daniel
Felder, Harvey
Grant, Stewart
Kato , Kunj i
Koide, Yusei
Lacanski , Nick
Mac Nair, Alan
Morden, Frederick
Pad, Gayna
Salov, Leslie
Schmidt, Michal
Seamon, David
Silverman, Faye-Ellen
Suzuki , Natsuko
Twu, Hwei-Ming
Wilkinson, John S.
104 Blueberry Lane #11, Laconia, NH 03264
4015, rue Coloniale, Apt. 3, Montreal, Quebec
CANADA H2W 2B9
10 Railroad Ave . , 1-C, Haverford, PA 19041
1010 13th Ave. North, Lethbridge, Alberta, CANADA T1H 1S6
71 Minami - Ichij yo - cho Taisyogun Kitaku Kyoto 603 JAPAN
2-3-22-104 Miyamaedaira Miyamaeku Kawasaki 213 JAPAN
2940 D Columbiana Rd. , rBirmingham, Alabama 35216
4684 Courville, Detroit, MI' 48224
107 Aldrich Ave., Altoona, PA 16602
24 Slade St., Belmont, MA 02178
Route 4, Box 186, Whitewater, Wisconsin 53190
51 W 81st St. Apt. 3-G, New York, NY 10024
101 Aspen Dr. E, Woodbury, NY 11797
1000 East Joppa Rd. #207, Baltimore, MD 21204
17-504 Furola Katsuradai 2069-1 Kamigo-chyo 247
Totsuka-ku Yokohama-City Kanagawa-pre . JAPAN
9220 Clarewood, Box 2082, Houston, TX 77036
801 Prospect, Sault Ste. Marie, MI 49783
jtmxH m&ssam
vntr, rm^ rw^wra tow
Snxvlh vln
19 Xccusfc Avsrnaa
Xarchvont, KSf 1QS38
9X«34~93S9
Andrew Melscn, c&oe
25401 biased ttiva
IPrankUn, IU 4C025
313-626-5288
I9ar,
Barbara Blank, via
125 Gfcser&foad /Scranue
MaAiaon, W 07340
201-822-0764
Otool Bcoelli, fcHbone
9 kfeey Cbwrt
Hotfaen, m 0X844
6X7-68S~0352
Michelle Doyls, elnt
604 ftalnub Etiset
HawtarivillG , MA €*21.60
617-332-4819
Ikaacrlas C3%.dinBn
111 TSmsifcfca mu ^3
Cfcmcord, PIT. 01742
617-363-42S0
Alien Alr*.'zsrtdar, ©silo
HX, 5 2273 E. 9th Street
Ovto, Cft 95S23
916-345-6242
lAuric Arnold, cello
‘JO 6 Berkley Koad
Ifexiert:h , PA 19072
2.15-667-3471
Ewniel Balsam, tHtane
46 Bhir^es Dale
AlJbany, HY 12203
SX&~4B2~5334
*
\
ra Barron, fioke
95 Hemlock Thrive
i-toxsii, m 02061
617-659-4826
Ulna Easescru, vln
450 ifest Bod Avenue
Ifesr York, m 10024
212-787-0267
Hicholle Se^udiesne, cello
450 Santa Itosa Lar^s
Santa Be ixbam, CA 93108
805-969-5762
Joan Bennett, vln
306 Lee* Drive
Auburn - AL 36830
205-037-3638
Sabrina Berger, vln
X03 Huron Avenue
Tt^D,f PL 33506
813-251-2208
30ax1>5tra Siehsp* dsoe
2530 Darrin Av® lue
Sarasota, FX, 33579
813-022-6922
Jffitisa Bounce, perc
2822 Famusgtm
ffcrthhrock, XL -50062
312- 564-8242
O; ■ '..
Buben Charlies, horn
A/da Los PSarvgos Uta Gsnci
La Florid-cvC^sracas insn
Venezuela
582 747476
Osssandra Cherry, vln
5605 Barksdale Drive
Xouisville, KY 40258
502-937-6193
Chxisfccnber Clark, bass
10101 Coyle
Detroit, rn 48235
313- 273-6716
Catherine Conroy, via
459 South Shore Drive
Steps myr FL 33559
833-966-4180
Joan Eteri ty.'feepian , 161 a
1624 Xfcarxmsiee Avenue
South Milwaukee, WI 53172
414-702-5754
Kirsten Duster, via
11911 OJsen Circle
BXccrrdjKJton , MN 55431
612-884-1179
Carald Uawd, perc
80 Baiilet Street
JteMton, !f\ 02159
617-965-6654
Frederi c B’UraeX, vln
Seven ue Du Bosquet 43
1320 Geravai
Baled*!*
02 $53 9160
Holly HGelnaa, vln
16 Hiohinyfoori Avenue
IrviriiTtca! , ft Y 3.0533
914-531-7540
Allan Engstrom, vln.
P.O. Box 723
Juneau, AK 39801
907/585-1655
Natasha Ensign , vln.
P.O. Bax 80461
Fairbanks, AK 39708
907/479-2102
Sartt Facher, vln
52 Qollira^ood ?toacL
PiJDle^cd. HT 07040
201-763-7381
Tracy Farrell, via
1559 Regent .Street
Sd teravettidy, W 12309
518-370-0076
Earl Fly, bass
1C Arch Street
?'festhC3rouch , M 01531
617-368-2003
I Hilary Fetbel, flute
433 Oli^^r fk>id
Cincinnati. r OH 45215
513-761-5227
Paul FXeury r cello
2053 Rvjen Avenue
winter Park, PL 32789
305-828-1640
1986
YCOJO AATISTS iriSTHITmTAL PROOPA?
- ‘ . . ‘ *.? *
_o_
C*
Leslie Friend, cello
5904 S E 20
Mercer Island, FA 98040
206-232-1884
Michael Oarasi, pore
1937 ITE 123 Street
North Miami, FL 33181
305-893-6268
Matthca Gaunt, tuba
3 Lincoln 7 venue
So. Radley. IF. 01075
4 13-5 32-6068
Richard C-raber , pore
1760 NT7 82 Terrace
Pert)roke Pines, FL 3302/
305- ’32-0349
Inna Oravrnhorst , vln
Dordniknnerstr 22
Dusseldorf, 17. Germany 4000
211 53075
Clmrles Ounsaullus, vln
10 Cushing Ct .
Randolph, IU 07069
201-895-3194
Padre 57 Eolberstadt, horn
0110 Old Post Rd. Fbst
East Inhere t , NY 14051
716-741-9 ’27
Kit Feller, via
131 Prospect Street
T Take fie Id , 7 (A 01880
617-2 ^ 5-2 7 69
Alicia Fuang, vln
6 I-blibrook Court
Paltirorc, ’T) 21236
301-256-6362
David Fuff, via
129 Center Avenue
7 Thecliiaq , FV 26003
304-242-2321
i "Orion Jordan, tpt
7541 Afton Frive
Na; Cr leans, IA 70126
50^-2:1-2012
Heidi Julian, flute
2109 Shoshoni Drive
Jonesboro, AR 72401
501- 935-1894
Sonia Jun, vLn
27 Chasevrod Lane
East Amherst , NY 14051
716-689-9280
Roksana Kaczmarek, vln
Isla Saona #28.18
Col. Lopez cte Legazpi
Cod. Post. 44-950
Guadalaj ara-Jalisco
Mexico
Fdrsten Kessler, ceLlo
LCDS rteado'-Tvies-r Avenue
Hewlett , NY 11557
516-569-1505
Eugene Kicrran, iiom
1 Snowden Avenue Nil! Petr]:
Port Elizabeth
Gape Frovince
Republic of South Africa
6091
(041) 334026
Senna Kin, cello
KR1 Rattlesnake Bridge Pd.
Pedrninster , 717 07921
201-439-2377
Kristine Itolbingcar
690 South Main Street
M ew City, NY 10956
914-634-6177
Laura (Peth) Larbert, vln .
2515 Net'tourrr Road
Louisville, 17/ 40205
502- 454-0812
John Landefeld, cello
].069 Gertrude Lane
Stevens Point, T7I 5’401
715-345-1293
Sarah Lester, tpt
56 Park Edce Drive
I go 5 ran, ’ll 01030
413-706-1^01
Patrick Leyden , clnt
91 Strawberry Fill Ave.
Stanford, CP 06902
20.3-348-9697
Rebecca J4acKinn.cn, vln
2026 Ganpo Alegre
Tenoe A3 85201
602-946-7031
Gregory Mallek, c]nt
27 Southfield Drive
Bernards vi 13. e , MJ 07924
201-766-7045
peter Mandell, J'ssn.
ano s. Nastoate Ave.
los Angeles, Cl 900 "9
213-472-9330
Jason NcCcrh, cello
1501 IP7 62nd Street
Vancouver, FA 98663
206-695-5614
Elizabeth 7 ’onroe r vln
1300 Crestrcod
FI Dorado, AR 7.1730
501- 86 3-64 30
Cynthia J’oon, vln
F.O. Pox 98 P/nph Road
Trigrangeville , NY 125/0
f'l/-223-5025
7 Fargaret O’Connell, vln
201’ Rolley Avenue
Scotch Plains, 17J 07975
201-322-1646
Tin OR 4a 11c/, cello
1 Chestnut Hill Road
FotyVrnd.lle, NY 12211
518-465-5669
Trevor Orthnann, vln
1352 So. 12th Avenue
Uausau, FT 54401
715-842-3827
7rv Osliiro, vln
9201 Kenneth A/Tenue
Slcokie , IL 60076
312-679-4107
193 G
YOUNG M ISPS n®TRUME?PAL PROGRAM.
-3-
Young Park , via
38 Hemera^ay Street , Apt. 14
Eoston, HA 02115
617-267-8156
Derek Ross, horn
1908 IT. McKinley
Hobbs , m 882*0
505-393-8639
Ema .Shook, vln
3412 N.E. Hancock St.
Portland, CR 97212
503-249-2853
Gil Penchina, via
22 Ht. Pleasant Street
Amherst, ’A 01002
413-549-3981
Tracy Rowell , bass
P.o/-Dok 57731
Mabster, TX 77598
713-482-2097
Jacob S loans , tpt
Tappan. Street
Prookline , MA 02146
617-277-5805
Jane rerera, via
219 S„ Fountain Pond
Pittsfield, PA 01201
413-448-8066
Julia Rus liner , I '>ssn .
39 Parkridge Drive
Pitts ford , ’ IP/ 14534
716-381-5334
Peter Smith, ohee
2916 Sycamore Rd. Pox 199
Frvn Athyn , PA 19009
215-947-3031
Ainae Picchi, via
255 Irving Avenue
South Qranae, RT 07079
201-761-1271
Fare Schmied, bass
120 Oakland Avenue
I-etuchen, RT 08840
201-549-5197
Melinda Spencer, cello
4 Fox Field Lane
Hanover, ME 03755
603-643-2964
Christopher Rankin, cello
192 Spencer Avenue
East Greenwich , RI 02818
401-884-0669
Christopher Schnell, cello
608 Camden Avenue
Morresta'Tn , 1U 08057
609-234-6038
Katrin St. Clair, vln
6830 Pershina
St. Louis, MO 63130
31 ^ 72 6-2 67 3
Steven Replogle , horn
14124 Buckner Drive
San Jose, CA 95127
408-258-1092
Chris Schubert, clnt
2831 N. Ityers Street
Furhank, CA 91504
213-849-1804
Michael Sylvester , via
1382 Harbor Drive
Sarasota,. FL 33579
813-955-0266
Shelley Rich, vln
190 East 200 South
Bountiful, FT 84010
801-292-4804
Ton Sessa, perc
50 Ptestmoreland
Arlington , FLA 02174
617-646-6630
Kiri Toro, vln
589 Foothill Road
Rridga/ater, RT 08807
201-725-3097
Aron Rider , oello
10933 Geist Ibods So. Drive
Indianapolis.. UJ 46256
317-8 ’9-0846
4*
."fanisha Seth, vln
1641 Lnrlian Dance Court
Fait land , EL 32751
305-647-2691
Gilbert Trout, bass
21 Ooolidoe Road
Pelmcnt , PiA 02178
617-48 ’-0616
Frederick Ripley, vln
3867 Chisolhurst Place
Colurhus, OH 43220
614-451-6254
Erika Sevetson, via
4930 SE Taylor Ct„
Portland, OR 97215
50 3-2 3 3-9458
Gird Turrjeon, vln
10414 Darby Street
Fairfax, \C\ 22030
7^3-273-1310
Ifevin Roberts , trcrixue
3 IlfT/rthome Court
ITilliar'ston, • IA 01267
413-458-5542
Dina Shek , cello
192° Grove Street
San Francisco, C" 94117
415-386-4518
Steven Vacdii, basn
13 Seneca Road
Portsmouth, RI 02871
'*01-633-0162
Gobriclle Robinson, vln
15 Lavory Drive
Delmr, MY 12054
510-439-6457
Daniel Shelly, basn
205 n. Highland Avenue
Philadelphia, PA 19118
215-242-0271
Kirstin Van Kirk, via
66 Olcle T’fcod Read
o’-Lastonburv , CT 06033
203-633-0678
1936
YOUNG ARTISTS P1STEITT11TAL PROOFAM.
Shannon T laddie, f lute
11314 Fawngrove
Houston, TX 77043
718-738-5400
Derek VTallach , vln
45 Marshal Street
IhrcolaLine, MR 02146
617-738-6663
Sean Malsh, tpt
P.O. Box 123
Seal Harbor, HE 04675
207-276-3633
Lillian Gerard, violin
322 Vfoodland Rd.
Madison, NJ 07960
201-377-0592
Kerry Kee, violin
70 Louise Rd.
Chesnut Fill, MA 02167
63.7-527-0392
Raea Leinster, v5ola.
11204 Vale Rd.
Oaktm, VA 22126
703-620-6230
Jeffrey Meisner p bass
10565 Blythe Avenue
Los Angeles, GA 90064
23.3-838-5154
***********
Jorery Lillians, vln
147 Feura Bush Road
Dclrvar, IT/ 12054
518-439-1193
Gabriel T7ilson, vln
142 Aspen Avenue
I tartan , PLA 02166
617-332-6383
Fiji Quo Conductor
c/o GBYSO
855 Ccnmrrrealth Ave .
Poston , HA 02235
AiSadour Santourian , Orchestra PLanacer
llh Matt non St.
Sprincf ield , * 7\ n 1.10 5
Thil Maffa, Assistant Orch „ Manager
27 Ranshead Rd..
Ptadford, MA 02355
Russell TPricht, via
1730 Lakeside Ct.
Venice, FL 33595
813-493-3973
Uarren T4u , cello
340 Madonna Uav
Los Altos, CA “94022
415-941-7542
Reva Youngstein , fluto
RRl Pox 128
Purd/s , NY 10578
914-232-9374
BCfTATT rr’7'*]rTJ^ P-"'’1 j ' "’T !
1986
ycxtng artists vc xr\L progrtm
Laura Althoff
20 Ttolccrtt .'toad
Southampton , MA 01073
413-527-7105
Paul Anastroncr
586 ^ f,ft. Valley Lane
Dallas , TK 75211
214-339-8874
Mary Ashley
Hanson's Ridge Road
Sprinqvale „ ME 04083
207-32 ’.-4133
Colo Rader
51 Tjbllinrrfcm Ave . - Pox 455
Poss , C\ 04957
415-485-1221
Slissa Peach
254 Main Street
Ninthroo , MR 02152
617-846-2047
Dona Bohr
24 Fishol Road
Edison, U7 08320
212-595-5333
T TbncV Dr auner
231 TTilsnn Drive
Cresskill, NJ 07626
201-071-0909
Rebecca Rro-m
97 Long Hill Road
niddle field, CT 0C455
203-349-9696
Andrea Camevali
103 Doming Drive
Goracpolis, PA 15103
412-264-9488
Laura Roth Clayton
1525 Reed mcd
Ralvem, PR. 72104
501-332-3045
Ellen Cohen
9 Adana Street
i toraarr ri 1 lo - I'll 07751
201-536-3633
Tanya Colangione
4 Dorraay Lane, ED #2
Trcv, NY 12182
518-237-4460
Clarice Evans
10832 Southeast 16th
Bellevue , T F, 93005
206-462-8032
Karen Frankenstein
5502 S. Cro;s Nest Road
Tempe, PZ 85283
602-897-0964
Stacey Frederick
7058 Femhill Drive
Malibu, CA 90265
213-457-5700
Katherine Canble
23 Imdcnderry May
Siwiit, NJ 07°01
201-522-0879
Nancy Oinstling
58 E. Sherbrooke Pkwy.
Livingston, NJ 07039
201-992-6171
Lara Coitein
53 Bow Road
P/almont, TV, 02178
617-484-1973
Rachel Gr.rrnn
132 York Tlills Bead
T 7iHa;dale , Ontario
Canada. '< TI. 7155
416-226-1605
Juliann Hansen
NT 1 Box 532-A.
TAlninqtcn, NC 28405
919-791-5024
Tamara Hardest/
Star Rt 1 Cox 137
Augusta, W 26706
304-496-7063
Kathleen Ilendry
'900 TTilrslow Read
Ilaltinore , 'ID 21210
301-356-1517
Heidi. Isonborg
7903 Hidden Lane
Elkins Par]'., PA 19117
215-782-15 *9
Aauri remedy
7311 Beauvoir Ct.
lyw.r . jp_ 76128
50 *-242-1333
Karen Kittay
"231 '"th St.
'torcer Island, TF r90/n
2 "'6-232-550 *
Dominic Jtollasch
•332 South Main Street
Dntec, N” 87MO
505-33 *-8140
"'nnette LaCasse
"Aimer St.
T'illir'antic, ^ or par;
0oa-/.23-6O.*i
' >rv I evisrn
65 Arquello ~lvN .
San ^ranc.i sco, rp r/. 17 0
/ ] 5-751-757?
Kristin Loiacmo
1 Littlefield Lane
Old L, /to, CT 06371
203-434-9686
Scott ItoCmbs
12426 SB 30th St. P-3
Bellevue, TP. 9S005
206-641-3881
Elizabeth Mclntvre
503 Pin Street
T tost field, TTJ 07090
201-233-8555
Torld Miller
■ '821 North Charles St,
Baltimore, TT> 21218
301-889-4736
Michael Tallin
955 Pin Street
T 7innetka , IL 6 00 0 3
312-445-6591
1986
YOUNG ARTISTS VOCAL PPQGPAI1
-2-
Jinx Neri
786 Hillside Avenue
Bochestcr, NY 14618
716-442-6510
Tfcbecca Skuoin
2325 Jefferson,' Avenue /-
New Orleans , IA 70115
504-861-2459
Kathryn O’Bourke
5 Ho3.lv Drive
Fairfield, MJ 07006
201-227-0071
M/ahlcn Kline Stewart
701 Tfest Butler Pike
Anbler, PA 19002
215-646-2698
Tirncthy Ostendorf
22 Spocnville Boad
East Granby, CT 06026
203-658-2521
John Tedeschi
41 Phelps Street
East Hartford, CT 06108
203-289-7651
John Peitso
1104 Ualston St. Opt. 1042
Dalton, GA 30720
104-226-4388
Teresa Torstenbo
7206 NE 72 Avenue
Vancouver, W\ 98662
206-892-7733
George Pena
161 E, Tracy Place
Hackensack , 1TJ 07601
201-439-5186
Heather barren
20 Sunrise Drive
barren, NJ 07060
201-647-3584
Leslie Pcssa
250 110th Place S.E.
Bellevue - T4A 90004
206-253-9277
Erika Yomda
112 Stults Bead
Belmont, MA 02178
617-489-0480
Heidi Brthauser
1221 109th N.E.
Bellevue, 98004
206-454' »C116
Eeth Salt
5 El.inc Brock Bond
kfestport , CT 0G880
203-226-502 C
Italy Ginger
2130 IT, Sedgwick
Chicago , IT. 6061'1
312-218- 1012
Stephanie Singer
4 Asoctuck Tone
Ffestpart , CT 0G880
203-220-^291
BOSTON tWIVERSITY TAUGLFT190D IF-TPTHTJCT
you m artists OTiposmai ppcgrtg
1086
Philip Edwards
04 Larchwood Dr.
Cambridge, m 02138
617-864-2665
Andrea Oaudette
6,2 Chute Street
Reading, ME 01867
617-944-7317
nnily Citkin
7 Ifenncdy Court
Wayne , NJ 07470
201-694-6447
La jtrcncc Ho trick
2730' Proctor Road #106
Sarasota, FL 33581
813-921-1650
Jay Krasnov,7
1746 Eillcrest Ave.
St. Paul, m 55116
612-690-0668
lecnard Lionnet
4C09 Glendale Street
Eetairie, I A 70006
504-885-9481
Philip Ruckis
36 Burks ide Avenue
Brockton, MA 02 ’01
617-586-7399
David Shapiro
8 Eorpton Lane
Blomfield, CT 06002
203-243-3394
Melissa '^Inertoar
Juliette Hirt
Hillary Morcheles
Laura Ponzio
Kim Ross
Claudia Valsi
Ilartha Uxrren
DOSTCN tNIVERSITY TANCMffttT> UTSPITITEE
HARP SnWUSR
LOST •
7.0* Box 178 815-284-6124
Dixon, IL 61021
1033 Camino Del Pdo 805-964-0150
Santa Barbara, CA 93110
11 Park Place 201-467-5013
Short Hills, NJ 07078
201 Jefferson Drive 412-563-7787
Pittsburgh, PA 15228
6201 East Osborn 602-949-0400
Scottsdale, AZ 85251
8211 Hendrie 313-541-1852
Huntington Woods, MI 48070
1925 ALschuler Drive 312-897-2566
Aurora, IL 60506
boston utmTOsnY mirrir roo msrmrrr
. r . ' — S.
YOUNG ARTISTS PIANO PROGRAM
v 1086
Orit Mam
4 Lake Christopher Court
Rockville, MD 20855
(301) 921-4371
Elise Auerbach
105 Borer St,
Erdenheim, PA 10118
(215) 233-6538
Mary Jane Austin
10638 Briar Hill Dri^TO
Kirtland, OH 44006
(216) 256-1230
Anselm Barker
6 Teter Road
rbxriiaack, NF 03054
(603) 880-3650
Allen Bartcn
103 Iferiam Street
Lexington, MA 02173
(617) 862-3895
Nadia RchachGvrsky
46 Dellwocd Ave.
Cha train, NJ 07928
(201) 635-155 6
Kristin Dourlas
i \
0127 Hamad Drive
Richmond, VA 23235
(806) 272-0681
Nicholas Carey
8607 La Senoa
Scottsdale, ?7, 85255
(602) 585-0872
David Coleman
028 Sumer- Shade Lane
Memphis, TN 38116
(901) 398-4750
Simone Dinner stein
415 First Street
Brooklyn, NY 11215
(718) 788-6387
David Dobrusky
0711 Rio Grande Plvd. W*
Albuquercrue , NM 87114
(505) 898-0672
Gina Figal
7 Mallard Path
Liverpool, NY 130° 0
(315) 652-3666
Jacques Gascoyne
129 Crescent Rd„
Florhan Park, MJ 07932
(201) 966-9122
Sara Jobin
9 Trospect Terraco
F'tantclair, NJ 07042
(201) 783- 3261
Joseph Johnson
7 Ancient Ifcry.
East Lyme, CT 06333
(203) 739-7696
Jacqueline Krakow
27185 Scenic
Franklin, FH 48025
(313) 626-2962
Anne Leonard
2500 N. Jefferson St.
Arlington , VA 22207
(703) 533-0756
(cxnhintieay
Kerri Mikkolson
168 Priarhurst Pd.
Hilliamsville, NY 14221
(716) 632-6256
Lisa Park
V •* . *
720 Governor Circle
Newtcwn Scruare, PL 19073
(215) 353-8796
Nalini Philipose
. . ... / y* .*
30 Fairfax St.
Denver- , CO 80220
(303) 321-6467
Matthew Rinqel
60 Great Hills Pd.
Short Hills, NJ 07078
(201) 564-8082
Jchn Root
517 TT. Spraoue St.
Fins ten Salem, DC 27107
(919) 723-6723
Jascn Royal
* y ■ ' f . ! .
60 Grant St.
Iaccnia, NF 03246
(603) 526-7272
Gabriel Sanchez.
7405 Pebble Peach Dr.
Rowlett, TX 75088
(216) 475-8842
Katherine Saphir
. -- ^ r. #-• • ’ C) ,
2909 7veJ.cn Lvenue
Berkeley, CL 94705
(715) 548-6099
Brigitte Seqal
> "1C » ; ( *"{'■'' \
11189 E. Cirrnron Dr.
Englewood, 'CO 80111
(303) 694-9411
Larissa Sokoloff
78 Ravine Ave.
Nutley, NJ 07110
(201) 235-1760
Heather Stewart
Cahill Road
Manlius , NY 13104
(315) 682-8677
Laura TUlscn
337 Norwood Road
Dcv jn inert own , PA 19335
(215) 269-9762
Paul rtyse
93 Mabel St. ■ r
Portland, ME 04103
(207) 775~o?66
Linda Zoolalian
r \ r,
981 Briarcliff Pd..
Ptrnrovia, CL 91016
(918) 359-1467
T' .
boswct RirTTSiry tawglhicod F.Tr^THFT
Ifennoth Amis, tuba
8 Khyber Pass
Warwick, Pemuda 7-05
009-296-3616
Christopher Barber, t-bone
5451 Harper’s Farm Bead -lC-2
Oolumbia, HD 21044
301-964-9711
Barney Plough , horn
6016 77 th Avenue , SF
Mercer Island, HA 98040
206-232-7327
Bryan Bilqore, tpt
1205 Broadmeada; Poad
Winnetka, IL 60093
312-446-3523
Anne Marie Forch, horn
154 Monte Hey Drive, S.
Los Pianos, '87566
Steven Burdick, tpt
6807 Sherwood Drive
Knoxville, Til 37919
615-584-7991
Janes Butcher, tpt
3621 Stardust Drive, HE
Alburquerque , II' 87110
505-034-4813
Brian Chamberlain , tpt
74 Fresh Meadow Drive
Trumbull, CT 06611
203-261-6182
Jennifer Cheney, horn
Boute 2
Waxahachie, TX 75165
214-937-9735
Marie Chines, tpt
85 Cobblestone Wav
Windsor, CT 06095
203-638-0184
Edmond Collins, tot
3 Eyrcn Dead
Short Falls, HT 07073
201-^67-8331
r°r brass guJjTttt sf??imap
1906
David Corey , tuba
33 Medici Court
Baltimore, MD 21234
301-256-4109
Todd Craven , tpt
3834 Pisedorph
Flint, HI 48506
313-742-3861
liana Domb, horn
20 Flanders Road
Toronto, Chtario
Canada M6C 3K6
TTicollo Feigin, horn
48 Lawridge Drive
Tye Prook, ITY 10573
914-939-8100
Christina Gallant , tpt
P,0. Pox 571
Middlehoro, r*A 02346
617-947-1254
Anne Gartner, horn
16 Cooper Avenue
Edina, Ml 55436
612-920-7447
Janice Gibbs, tpt
211-38th Place
’Manhattan Peach, CA 90266
213-5^6-2952
Steven Goldkrantz , tpt
6 Paper Md.ll Poad
Cherrv Hill, HJ 00003
609-424-2747
Marrv Hardin, tpt
Rt. 2, Box 393 *
Hudson, II C 28638
John Hensley, t--bane
600 Ios Pueblos
Los Alamos, J?* 9756 *
505-662-7445
Trey Heiskell , t-bcno
24 IS Deasa
Sprincr, TX 77373
713-353-5023
Claris Herbert, t-bone
6353 Tast Quaker
Orchard Park, UY 16127
716-662-1636
War)'. Hetzler, t-bone
3516 Jaffa Drive
Sarasota, PL 33579
813-953-6628
I toward Hiser, tuba
2161 Chippewa Tr0
Maitland, FL 32751
305-628-5563
Barbara Furvak, tot
18 15- 116th, HE
Bellevue, TT 9000*
206-656-6637
'■arc Xsserles, t-bone
6 ivy League Lane
Stony Brook, tpt 11790
516-751-6121
Finar . Jonsson , tot
SeLbraut 36
170 Se Iti ar rtarnes
Iceland
011-354-124929
Jennifer Jo!mston,tuka
990 Thcsrnfield
Kavsville, T7T 36037
801-546-4329
Pichard Jolinson, tot
4 Dead
Tonsfield, -1A 01983
617-8 97-2215
Sarahi Kashin, horn
67 Mien Cove Drive
Glonhead, TTY 11565
516-759-9152
Darryl Inman, tot
7 Firmer Street
I exinoton , ' "A 01.273
617-362 -109'1
Douct Hark, t-bono
26 Cambridge Poad
Soars 4ble, ?TY 10533
914-725-4953
ilichael T larotta , horn
18 Old rustic Circle
T7. Falnouth, MA 02574
617-5^0-8082
Robert NeClure, horn
115 ' Oakcncate Drive
Can Dims , CA 91773
711-599 -3736
Keith ffeek, t-bcnc
Rt %lf Box 235C
Itesouite. TX 751C1
21^206-8237
Margaret •'ills, tot
Rt/ 3. Tex 223
Brighton, ITT 33011
901-975-6:06
Goan Not iso, tot
Todd Fill ?oad
P.O„ Pox 9
LaGranceville, LJY 12540
914-223-3840
Karen famzinger, tpt
15 '1 Rutledge Road
Iteli.Tcait, fV_ 02178
617-484-6359
Julio Pack,, horn
6353 Pavtair Drive
Clarence Center, IIY 14032
716-741-3588
Fob Rasnussen, horn
7 5 44- 2 0th Avenue, IE
Seattle, TPi 98115
206-525-9147
Doug Aidchonfeld , tpt
li03 Clcnvcod Drive
Charon, PA 16146
432- 347-35 3C
Janes Paid, horn
2569 Oak Valley Drive
Vienna. VA 22100
703- 281-5964
Ed Richardson, tot
10607 Purr Oak T*av
Purke, VA 22015
703/250-3040
1986
HTUIG PPACC OUHTTET EE? TPT
-2-
Elizabeth Rabart , horn
13001 Cl'7 9th Place
Davie , PL 33325
305-472-2837
Rachel Robinson , tuba
15 Night Street
Bridowater, T\7 08807
201-722-9249
David Searle , t-Jxane
17” Berlin Drive
Knoxville, TrT 37923
615-693-5071
Paul Snyder, t-bone
2336 Blackhawk. Road
T Ulrette , U, 60091
312-256-1397
Brett Steeple, tuba
1272 Parkview Drive
'' taroantewn , T,T„ \J7\ 26505
304-599-1415
nichard Tapper, tpt
15 Griffon Drive
T 7akef ie Id , r V . 01380
617-944-0207
Pill Thiessen, tuba
108 OOney Lane
Oak Pidcre, TN 37830
615-482-3731
richaol Trnbalka, tuba
104 deforest Lane
Cakridoro, TIT 37030
615-482-5862
indroa Troxel, t-*fcone
4 Madison Street
Po Incut, MA 02178
617-484-5692
Debbie Umn , tpt
12 Pdverviar Pond
Irvimton , I A7 10533
9. V -591-8315
Thoms Untersee , tuba
1000 T7inter Street
Natick, riA 01760
617-653-6958
Julie 7 laters , tpt
10933 Tk Center St., Ext
’fedina, NY 14103
717-798-3218
Glen khitdiead, tpt
75 Terry lou Avenue
Eo Falmouth, MA 02536
617-548-2416
Lee Anne ^7illianson , ei to
1/164 Colgate Drive
Fethlehem. , PA 180 17
215-865-7916
Martin Zaporski , t-bone
26761 Barbara
Roseville, til 48066
313-771-5923 .
POGTO! ITOVERSITY TAMGLD-'nOD
FIIH’E SF? SEMAP
f . ' "
1936 •
Lara Bahmueller
RR #1 Box 1-60
Mbolwich, m 04579
(207) 4^3-/'139
Min Il»ja Bang
71 Dong 206Ho, Hanyang Apt,
Apku j unq-dong , Kangnamtei
Seoul, KOBE?
5-3-8526
Kathryn Burrows
38 Highlands Pd.
Orpinrrton Kent BR5 ■ 47P
England, UK
0689 31199
Jennifer Debiec
1020 Governor Lane
Pisnarck, ND 50501
(701) 222-4886
Daniel Dorrance
90 LaSalle St. 19 D
Mew York, TIY 10027
(212) 865— 1856
Hisabeth Hertz
129 Fejrbroke St.
Porforoke f NH 03275
(693) 485-5668
Alex Garganigo
8409 Colonial Lane
St. Louis, m 63124
(314) 725-1090
Julie Goehrinq
3301 Purdue Drive
Bakersfield, CA 33396
(805) 871-1529
Katherine Hofrann
Pox 317,
Pleasant Valley, LA 52767
(3] 9) 332—'l23-
Elizabeth Kelly
8 Pay Path Drive
Poylsten, F1A 01505
(617) 86°-6‘<156
Abbe Thrieger
361 Lacey Drive
Ns\r MjJLfbrd , MJ 076^7
(201) 38^-2560
Penee Oak ford
362 Felton Ave . S.I.
ITew York, MY 10310
(718) 727-9/120
Sarah Phipps
78 Page Rd.
Merton, W i 02160
(617) 965~55°6
Danielle Rangel
251 South Garden
Bellinahan, TTA 98225
(206) 736-200/1
J.nne Boners
69 Whitehall Bd.
Aresburv , MA 0 1° 1 3
(617) 388-1988
Gen Phinkai
451 ChannincT Ave.
Tfest field, MJ 07090
(201) 232 *5932
(cmtinucK?)
7:1 ice fhuf field
(501) 646-9781
Kayo Shirakura
Lara &nall
Stephanie Stathos
7-13.2 South Fresno
Fort Smith, AK 72903
3-1-16 Kakinokizaka (03) 710-2796
ffeguroku, Tokyo
JAPAN F 152
19 Cherry Lane (516) 829-50A7
Great Neck, NY 11024
5L? '<> >.
69 Todd Pend Rd. (617) 259-9173
Lincoln, HA 01773
“* *££'?%/ • ;*r> t
9317 Brooktcn Court
Raleigh, NC 27609
Kris Halters
(93P) 843-0105
poston iiNB^ERsrr/ tan^lpdood m^nriTF
LL6TFTTIMO & ANALYSIS mWX&B/IPPLZFD MJSIC
1986
Karen Buck
clarinet
434 Cole Place
Pethpace FV 11714
(516) 822-1042
Christian Colberc;
violin
Pox 9896
Santurce , Puerto Pico 00908
(800) 723-2655
Jennifer Cook (Colleen)
voice
640 University Circle
Athens , CA 30605
(404) 543-0R95
Puckley Crist
oboe
1216 Colnate Ft.
Wilmette, LL 60091
(33.2) 251-4763
Lisa Durbin
percussion
1231 Parklev Ave.
Norman, OK 73071
(405) 329-03/1
Janes ciles
piano
1415 Fernwood Drive
Fiah Point/ NC 27260
(019) 887-24-96
Marlena Hazard
piano
501 Iloffnan Ave,
Bridgeport, AL 35740
(205) 495-3415
Carolyn Iarmt
voice
100 Nalnut Place
rrookline, MA 02146
(617) 738-7687
**Palliath Secrrre '"athew
voice
Pox 105, loros hire College
Anherst / MA 0100?
(413) 549-4600
ext. 31
Karen r 'uensrincer
trurpet
.10 Dover Ave .
T-hite Plains, N.Y. 10005
(914) 0 10-2811
Christine Neman '
violin
587 fairyland ME
Grand P&jxSfis, m 49503
CS16) 776-0115
Kirsten Olson
violin
282 Fart St.
New Pritian, CT 06052
(203) 229-2215
Carolvn Pay
piano
17 Leavitt St.
Finghan, ?1A 0204.3
(637) 749-3202
Charles Pobinson
oboe
315 Loc}-part St.
Younastam, NY 14174
(716) 745-3981
Holly Dyder
clarinet
463 Waterloo- Geneva. Pd .
Waterloo, NY 13165
(33.5) 539-3176
Kathleen Thiessen
piano
108 Olney' lone
Oak Ridae, TN 37830
(615) 482-3731
7\ny Tobin
violin
3 Past Pleasant Lake Pd.
St. Paul, m 5511.0
(612) 484-5055
(continued)
Natalya TurovsI'y
violin
Thor1. Untersee
tuba
Shawn Verfaillie
violin
Kathleen Tbbb
violin
permanent address
**Palliath Oeorae Mathew
voice
4*29 Tfelrosp ,.,r (51*) 481-3372
Montreal, Quebec H4A 2,°7
cm?Dr>
1000 Winter St» (617) 653-6958
ITatick, m 01760
rox 344, HR #1 (617) 255-86*3
KLnashury Nch. Road
Eastham, m 02642
310 Copeland St. #23 (617) 773-1627
Quincy, MA 02169
T.,C» 11/742-1
'Trivandrum 695003, ITTQXA (*71) 6*71*
eoptqt UNivErarry t/ytglej'TOD
Don; Fond-1 , cello
YOUNG ARTISTS OQftOTET PROGEAM
1386
P.0. Fox C5
Bolton, HA 017-0
413-504-3479
kfendy Gauntt, viola
° Pilot Point
Little Keck , NX 72205
501-663-546*
Lillian Gerard, violin
322 T‘lbcdland toad
Madison, NJ 07940
201-377-0592
Lynne Haggard , violin
2100 Osborn Drive
Silver Spring, MD 20910
301-583-0594
Kerry Kee , violin
70 Louise Load
Chestnut Kill, MA 02107
617-527-0392
ICristine Kolbinger violin
690 South Main St.
New City, NY 10956
914-634-6177
Paoa Leinster, viola
11204 Vale Hoad
Oaktcn, VA 22124
70.3-620-6230
J on I Sorgo, violin
3039 Manhattan lane S.E.
Grand Rapids , MI 6.9500
G16-949- 3961
Timothy O'Malley, cello
1 Chestnut Hill Ed. No.
Lojjdonville, NY 12211
518-465-5669
Ai tv Oshiro, violin
9201 Kenneth Ave.
Skokie, IL 60076
312-679-4107
Gil Penchina, viola
4
22 fit. Pleasant St.
.Amherst , MA 01002
413-549-3981
Benjaroin T tiff ( cello
135 Central Park Mast
New York, NY 10023
212-873-8298
TANGLEWOOD MUSIC CENTER
ADMINISTRATION AND FACULTY
1986 SESSION
Leon Fleisher
Artistic Director
Gilbert Kalish
Chairman of the Faculty
Administration
Daniel R. Gustin, Administrative Director (Acting General Manager, BSO)
Richard Ortner, Administrator
James Whitaker, Chief Coordinator
Harry Shapiro, Orchestra Manager
Carol Woodworth, Secretary to the Faculty
Karen Leopardi, Executive Secretary
David Gruender, Librarian
Tom Harvey, Orchestra Librarian
Doug Whitaker, Stage Manager
Tim Martyn, Audio Engineer
Sarah Harrington, Vocal Music Coordinator
Barbara Logue , Secretary
Helen Westerfield, Secretary
Artists in Residence
The Juilliard String Quartet
Robert Mann
Joel Smirnoff
Samuel Rhodes
Joel Krosnick
Faculty
Maurice Abravanel, Artist in Residence
Edwin Barker, Teacher of Contrabass and Chamber Music
Ronald Barron, Teacher of Trombone and Chamber Music
Marshall Burlingame, Librarian
Marylou Speaker Churchill, Teacher of Violin and Chamber Music
Aaron Copland, Chairman of Faculty - Emeritus
Phyllis Curtin, Master Teacher of Voice
Terry Decima, Vocal Music Coach
Doriot Anthony Dwyer, Teacher of Flute and Chamber Music
Burton Fine, Teacher of Viola and Chamber Music
Everett Firth, Teacher of Percussion and Chamber Music
Margo Garrett, Vocal Music Coach
Ralph Gomberg, Teacher of Oboe and Chamber Music
Peter Hadcock, Teacher of Chamber Music
Dennis Helmrich, Head Vocal Coach
Philip Highfill, Vocal Music Coach
Max Hobart, Teacher of Chamber Music
Charles Kavalovski , Teacher of Horn and Chamber Music
Oliver Knussen, Composer in Residence
Louis Krasner, Teacher of Chamber Music
Joel Krosnick, Teacher of Cello and Chamber Music
Eugene Lehner, Teacher of Chamber Music
Julius Levine, Teacher of Chamber Music
Donald MacCourt, Teacher of Bassoon and Chamber Music
Gustav Meier, Head Coach and Coordinator of the Conducting Program
John Oliver, Head of Vocal Music Activities
Seiji Ozawa, Music Director, Boston Symphony Orchestra
Ann Hobson Pilot, Teacher of Harp and Chamber Music
Jerome Rosen, Teacher of Chamber Music
Charles Schlueter, Teacher of Trumpet and Chamber Music
Peter Serkin, Teacher of Piano and Chamber Music
Joseph Silverstein, Teacher of Chamber Music
J. Fenwick Smith, Teacher of Chamber Music
Peter Gram Swing, Instructor of Listening & Analysis
Roger Voisin, Teacher of Chamber Music and Solfege
Harold Wright, Teacher of Clarinet and Chamber Music
Yehudi Wyner, Teacher of Chamber Music, Piano, and Composition
Jeremy Yudkin, Instructor of Listening & Analysis
1986 Granrud Artist in Residence
Phyllis Curtin, Soprano
Visiting Faculty
Emmanuel Ax, Piano
Anat Baniel, Movement
Leonard Bernstein, Conducting and Composition
Pina Carmirelli, Chamber Music
Leon Kirchner, Conducting and Composition
Yo Yo Ma, Cello
George Perle, Composition
Gennady Rozhdestvensky, Conducting
Poul Ruders , Composition
Robert Saxton, Composition
Toru Takemitsu, Composition
TANGLLUQQD FACULTY AND STAFF ADDRESS LIST - 1285
Abravanel, Maurice
Atherton, Leonard
Barker, Edwin
Barron, Ronald
Barry, Edward
Bascio, Patricia
Bernstein, Karen
Bourdon, Bill
Boyce, Naneen
Bredice, Fred
Brouker, Ron
Brown, Wendy
Brundaae, Harry
Burlingame, Marty
Burnham, David
Churchhi 1 1 ,
Marylou Speaker
Cinella, Tom
Clarke, Neil
Colley, Bernadette
Creditor, Bruce
Crowley, David
Curt in, Phyllis
Decima, Terry
Douolass, Anthony
Dwyer, Doriot Anthony
Elhai , Robert
Eskin, Jules
Fine, Burton
Finn, Margaret
Firth, Everett
Fischer, Norman
Fit zgera 1 d , Ka t h
Fleisher, Leon
Forbes, 6ary
Fraher, Larry
Fuente, Louise de la
Garret t , Margo
Gill, Tom
Gold, Were
Gomberg, Ralph
Gruender, David
Gustin, Daniel
Hadcock, Peter
Hall, William
Halligan, Pat
Harris, Harold
Harrington, Sarah
Hathaway, Nathan
Heller, Joan
He 1 mr i c h , Dennis
Highfill, Philip
Seranak , Lenox 01240
c/o Olson, East Street, Pitts. 01201
Greylock Street, Lee 01238
* Cheever Road, Richmond 01254
167 West St.,' Lenox 01240
Lake Drive, Stockbridge 01262
Box 588, Lenox 01240
5 Joseph Ave., Lee 01238
Seranak, Lenox 01240
Squaw Peak Rd., Gt . Barr. 01230
Tree Farm Rd., Rt. 183, Stock. 01262
Berk. Christian Coll., Thompson Hall
55 Windsor Ave., Pitts. 01201
Mahkeenac Terrace, Stock. 01262
Thanksgiving Meadows, Richmond 01254
Arthur Fiedler La., Beachwood,
Stockbridge 01262
Main St., Lee 01238
73 Orchard St., Lee 01238
Seranak, Lenox 01240
27 Clinton Ave., Pittsfield 01201
Berk. Christian Coll., Thompson Hall
Box 222, Seekonk Rd., Gt . Barr. 01230
71 Easton Ave., Pittsfield 01201
Douglass Hse., Stockbridge 01262
Hawthorne Rd., Stockbridge 01262
Miss Hall’s Sch., 492 Holmes Rd.,
Pittsfield 01201
West Mountain Rd., Lenox 01240
Emerson Street, Lenox 01240
175 East St . , Lee 01238
Lime Kiln Rd., Lenox 01240
515 Williams St., Pittsfield 01201
Interlaken Crossroad, W. Stock. 01266
West Stockbridge 01266
318 Williams St., Pittsfield 01201
48 Brunell Ave., Lenox 01240
Woodwind, W. Stockbridge 01266
Goose Pond, Lee 01238
Berk. Christian Coll., Thompson Hall
Gale Avenue, Pittsfield 01201
Averic Road, Stockbridge 01262
56 Le Roi Drive, Pittsfield 01201
RFD #1, Housatonic 01236
Wheatleigh Drive, Stockbridge 01262
29 Center Street, Lee 01238
318 Williams Street, Pittsfield 01201
Beachwood, Stockbridge 01262
33 Palomino Dr., Pittsfield 01201
c/o Ripley, Devon Rd., Stock. 01262
39 Hubbard Street, Lenox 01240
443 South Street, Pittsfield 01201
75 Lewis Avenue, Gt . Barrington 01230
637-0587
443-2044
243-2361
698-2801&2
637-0219
298-3474
298-3761
243-9847
637-0108
528-2736
499-2412
637-2406
443-3502
298-3919
298-3871
243-9874
243-3649
637-0108
442-9111
637-2406
528-1020
442-7692
298-3494
637-2233
442- 5719
637-2782
637-3409
243-3604
637-1814
499-7453
298-3383
445-5536
637-3304
232-4464
243-3045
637-2406
443- 3860
298-4862
445-5576
232-4338
637-1423
243-3614
445-5536
298-3878
443-1851
298-3401
637-3307
443-1146
528-3195
TWO Foe . & Staff List
HoaQland, Sue
Hobart , Max
Horgan, Bernadette
I wama , Mi sa
JoQuarib, Maria Clodes
Jordan, A1
Kalioh, Gilbert
Kaliah, Judith
Kasser, Cynthia
Kavalovski, Charlee
Kaye, Richard
Kazura, Alex
Keenum, John
K i ley , Jin
Knuaaen, Oliver
Kraaner, Louis
Krol, Pat
Krosnick, Joel
Kurland, Anita
Lahart , Duke
Lawrence, Lucile
Ledbetter, Steve
Lehner, EuQene
Leopardi , Karen
Levine, Julius
LoQue, Barbara
Lowe, Malcoln
Lucy, Bob
MacCourt, Donald
Mandel , Marc
Manew 1 c h , Bill
Mann, Robert
Martyn, Tin
Maroni , Janes
Masainiano, Jeanne
McGaw, Caryl
McQueen, Laurie
Meier, Gustav
Merwin, Neil
Morse, Cheryl
Morris, Elisa
Moyer, Willian
Nar dace i , Alex
Natale, Peppino
Oliver, John
Oue , E i j i
Ortner , Richard
Ozawa, Seiji
Parsons, Anne
Phillips, Nancy
P 1 lavachi , Costa
*
14G Main Street, Lenox 01240
Under Mountain Rd., Lenox 01240
327 East Street, Lenox 01240
Miss Hall’s School, 492 Holnes Road,
Pittsfield 01201
42 Walker St., Lenox 01240
Douolass House, StockbridQe 012G2
East Street, Lee 01238
East Street, Lee 01238
Under Mountain Rd., Lenox 01240
Goosepond, Lee 01238
Hilton Inn, Pittsfield 01201
33 PartridQe Rd., Pittsfield 01201
Rte. 41, Richnond 01254
197 West St . , Lenox 01240
New Conposers CottaQe, Seranak, Lenox
Serenak Caretaker’s CottaQe, Lenox
Berk. Christian Coll., Nichols Hall
c/o Hosmer, Austerlitz Rd., West
StockbridQe 012G6 518
c/o DARTS, Main House, Tanolewood
109 Plunkett St., Lenox 01240
146 Main Street, Lenox 01240
Chestnut Rd., Richmond Shore, Richmond
TyrinQham 01264
Miss Hall’s Sch., 492 Holmes Rd., Pitts,
c/o Giddon, Mahkeenac Terrace, Stock.
Lenox Branch Rd., W. Stockbndge 01266
Stockbr i doe
89 Prospect St., Lee 01238
c/o Spatz, W. Mountain Rd. Lenox
c/o Duoan, 327 East St., Lenox 01240
Coca-Cola, Greenfield 01301 1-800
RFD #1, Box 1 2D , Shelburn 01370
c/o Lehner, TyrinQham 01264
c/o Crane, Canaan Rd., Richmond 01254
414 East St., Lee 01238
13 Blythewood Dr., Pittsfield 01201
318 Williams St., Pittsfield 01201
17 Kemble Street, Lenox 01240
October Hill, Pittsfield 01201
44 Fuller Street, Lee 01238
Under Mountain Road, Lenox 01240
Under Mountain Rd., Lenox 01240
Inter lakerTTTrossroad , Stock. 01262
StrinQer Ave . , Lee 01238
Yale Hill Rd., StockbridQe 01262
443 South St., Pittsfield 01201
15 Lime Kiln Road, Lenox 01240
Canaan, NY 518-
Lenox 01240
Main Alford Rd., Box 60A, W. Stock.
Under Mountain Rd., Lenox 01240
West StockbridQe 01262
637-0805
637-1123
637-1574
442- 9352
Twd X279
243-3060
243-3060
637-3350
243-2727
499-2000
443- 0574
Twd- " 0 “
637-1499
637-0693
637-1684
-392-5892
Twd X246
637-0416
637-0822
698-2769
243-9867
442- 5652
298-3908
232-4642
298-4444
243-2540
637-3195
637-1574
-332-4969
625-9271
243-9867
698-2659
243-1434
447-7003
445-5536
637-0073
698-2263
uni i sted
637-1289
637-3350
298-3508
243-2382
298-4626
443- 1146
781-4808
232-4369
637-3350
232-4620
4
TUD Fac. & Staff List
Pilot, Ann Flobson
PI oof, Lesley Ann
Popov ic , Steve
Ouinn, Lis
Rapoport , Faye
Rawson, Charles
Rhodes, Samuel
Ripley, Robert
Roberson, Marge
Robison, Alfred
Rosen, Jerry
Sanford, Beth
Schleuter, Charles
Seranak
Serkin, Peter
Serwitz, Joyce
Shapiro, Harry
Silverstein, Joseph
Sird, Raymond
Sirota, Robert
Smedvlg, Caroline
Smedvig, Rolf
Smirnoff, Joel
Smith, Fenwick
Smith, Roger
Spinney, Joyce
Steinert , Kari
Stevenson, Joe
Sweeney, Elaine
Sturma, Dave
Swing, Peter Gram
Tivy, Janet
Tomlin, Sue
Tower, George
Voisin, Roger
Walt, Sherman
Westerfield, Flelen
Whitaker, Doug
Whitaker, James
Whitaker, Pat
White, Sonja
Winder, Edmund
Wittenberg, Alison
Woodworth, Carol
Wright , Plaro 1 d
Wyner, Yehudi
Yudkin, Jeremy
9
518-
Lenox
Lake Drive, Stockbndge 01262
318 Williams St., Pittsfield 01201
c/o Miss Flail’s School, 492 Flolmes Rd
' Pittsfield 01201
Gould Flouse, Lenox 01240
RFD Box 144, Canaan, NY 12029
48 Brunell Ave . , Lenox 01240
c/o Quality Inn, Pittsfield Rd
c/o Tammaney, Mohawk Lake Rd., Glendale
Berk. Christian Coll., Thompson Hall
301 Mahkeenac Shores, Stock. 01262
c/o Kennedy, 45C Starwood Dr., Lenox
166 Kemble St., Lenox 01240
Beachwood, Stockbndge 01262
Composer's Wing, Lenox 01240
Lenox 01240
Prospect Hill, Stockbridge 01262
View Dr., Richmond 01254
Mahkeenac Hts., Stockbridge 01262
c/o Penrhyn, East Rd., Richmond 01254
134 Walker St., Lenox 01240
West Stockbridge 01266
West Stockbridge 01266
c/o C. Guss, Lenox Mtn. Rd
West Road, Richmond 01254
East New Lenox Rd., Lenox
219 High St . , Lee 01238
9 Lee Road, Lenox 01240
Housatonic 01236
Church Street, Stockbndge
73 Birch Grove, Pittsfield
15 Yokun Ave., Lenox 01240
RFD 41, W. Stockbridge 01266
Persip Cottage, Rt . 41, Richmond 01254
69 Garland Ave., Pittsfield 01201
Stockbridge Bowl, Stockbridge 01262
298-4674
445-5536
Lenox
01240
01262
01201
( 7/26-8/28 )
637-0652
781-4157
637-3304
637-1100
298-3376
637-2406
298-3428
298-3497
637-0664
298-3555
698-3894
298-4754
698-2591
637-2778
232-8517
232-8517
232-7779
698-3157
637-0266
243-2483
637-1644
274-6965
298-4093
442-5726
637-1596
298-3766
442- 7548
443- 6287
298-3449
Rt .
41, West Stockbridge
01262
c/o
Scaduto, State
St. ,
Richmond
01254
698-2277
West
Mountain Rd . ,
Lenox
01240
637-1188
West
Mount a in Rd . ,
Lenox
01240
637-1188
West
Mountain Rd . ,
Lenox
01240
637-1188
c/o
Miss Hall’s School ,
492 Holmes
Rd. ,
Pittsfield 01201
Box 2117, Stockbridge 01262 298-4818
182 Birch Lane, Stockbridge 01262
Douglass House, Stockbridge 01262 298-3396
Lakeview Cabins, Lee 01238
Blue Hill Farm, Gt . Barrington 01230 528-0265
P.0. Box 648, Lenox 01240
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TANGLEWOOD MUSIC CENTER
Fellowship Program FIRST WEEK
Conducting July 1-6
Ms. Baniel
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TANGLEWOOD MUSIC CENTER
Fellowship Program First Week
Vocal July 1-6
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TANGLEWOOD MUSIC CENTER
Fellowship Program FIRST WEEK
Composition July 1-6
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
FIRST WEEK
July 1-6
SECTION A Thursday and Friday
’ 1:30 - 3:30
Mr. Fleisher MH 4
Schubert Trout Quintet
Vln-Bichteler
Vla-Sanders
Vlc-Baldursson FOR PERF. JULY 20
Bass-Matteson
Pno-Sasaki
Mr. Kalish MH 6
Smetana Trio
Vln-Baumgartel
Vlc-Diaz FOR PERF. JULY 23
Pno-Nickrenz
Mr. Levine MH 8
Mozart Piano Quartet in G minor
Vln-Bentley
Vla-Richardson
Vlc-Barley FOR PERF. JULY 13
Pno-Archer
Mr. Wolfe Scenic Shed
Schuller Bass Quartet
Bass- Johansson
Bass-Fabrizi
Bass-Peyrebrune FOR PERF. JULY 20
Bass-Kawazoe
Ms. Carmirelli Hawthorne #1
Schumann Piano Quintet
Vln-Schast
Vln-Tsao
Vla-Rubinstein FOR PERF. JULY 19
Vlc-Sigurdson
Pno-Kenner
Mr. Krasner MH 10
Beethoven Op. 59 No. 1
Vln-Haid
Vln-Yaacobi
Vla-Leon
Vlc-Stirling
Mr. Fine Hayden #3
Beethoven Op. 74
Vln-Miller
Vln-Fernandez
Vla-Qureshi
Vlc-Parens
Ms. Churchill MH 12
Mendelssohn Op. 44 No. 2
Vln-Kimura
Vln-Teshima
Via- Smith
Vic - Young
MORE SECTION A Thursday and Friday
1:30 - 3:30
Mr. Rosen Hayden #2
Mozart K. 458
Vln-Rosin
Vln-Parkins
Vla-Rilling
Vic-Swift
SECTION B Thursday 3:45 - 5:45
Saturday 1:00 - 3:00
Mr. Lehner Studio J
Bartok Quartet to be decided by group
Vln-Suh
Vln-Wolf f
Vla-Ries FOR PERF. JULY 27
Vic- Swift
Mr. Krosnick MH 13
Beethoven Op. 18 No. 2
Vln-Sone
Vln-Qian
Vla-Qureshi FOR PERF. JULY 20
Vlc-Schaling
Mr. Silverstein Hayden #4
Brahms Sextet Op. 18
Vln-Coach (Silverstein)
Vln-Kim
Vla-Chick
Vla-Smith
Vlc-Diaz
Vlc-Parens
Mr. Smirnoff MH 11
Mozart K. 516
Vln-Goldstein
Vln-Guan
Vla-Rilling FOR PERF. JULY 19
Vla-Suzuki
Vlc-Sami
Mr. MacCourt Rehearsal Stage
Krommer Partita Serenade
Ob-Blumenfeld
Bo-Zirbel
Cl-Passin
Cl-Prescott
Bsn-Gaarder FOR PERF. JULY 13
Bsn-Paulson
CBsn-McGovern
Hrn-Bowermaster
Hrn-DeRoche
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
FIRST WEEI>
July 1-6
MORE SECTION B Thursday 3:45 - 5:45
Saturday 1:00 - 3:00
Ms. Carmirelli MH 15
Beethoven Op. 59 No. 2
Vln-Coach (Carmirelli)
Vln-Szlubowska
Vla-Trinh
Vlc-G ruber
Mr. Krasner MH 10
Prfoofieff Op. 39
Vln-Wang
Vla-Sanders
Bass-Butler FOR PERF. JULY 19
Ob-Rhoads
Cl-Palmer
Mr. Wyner ChMusIIall
Mozart Divertimento No. 15
Vln-Moreau
Vln-Tsuchida
Vla-Richardson FOR PERF. JULY 15
Vlc-Barley
Hrn-Tomasiewicz
Hrn-Danf orth
SECTION C Thursday 1:30 - 3:30
Mr. Hadcock MH 13
Clarinet Master Class
Cl-Palmer
Cl-Passin
Cl-Prescott
Cl-Rusinek
Mr. Smith MH 11
Flute Master Class
Fl-DeVoe
Fl-Kuenzel
Fl-Porter
Fl-Sparks
Mr. Gomberg MH 7
Oboe Master Class
Ob-Baker
Ob-Boumenf eld
Ob-Olson
Ob-Rhoads
Ob-Zirbel
Mr. Walt MH 15
Bassoon Master Class
Bsn-Beselin
Bsn-Coricelli
Bsn-Gaarder
Bsn-McGovern
Bsn-Paulson
MORE SECTION C Thursday 1:30 - 3:30
Mr. Kavalovski Studio H ■ ass
HOrn Master Class
Hrn-Bowermaster
Hrn-Danforth
Hrn-DeRoche
Hrn-Schulze
Hrn-Tomasiewicz
Hrn-Ver Meulen
Mr. Firth Rehearsal Stage
Percussion Master Class
Perc-Adams
Perc-Hall
Perc-Jutsum
Perc-Megna
Perc-Patterson
Perc-Stirling
Mr. Schlueter Studio F
Trumpet Master Class
Trp-DiLorenzo
Trp-Kunkee
Trp-Nance
Trp-Rood
Trp-Weber
Mr. Barron Studio E
Trombone, Tuba Master Class
Trb-Carrerra
Trb-McElroy
Trb-Van Schaik
Trb-Zion
Tba-Jarvis
SECTION D Friday 1:30 - 3:30
Mr. Krosnick MH 13
Ravel Quartet
Vln-Lansdale
Vln-Kali FOR PERFL JULY 23
Vla-Chick
Vlc-G ruber
Mr. Serkin MH 7
Schoenberg Suite, Op. 29
Vl-Forbes
Vla-Schaum
VI c-L infield
Cl-Carroll
Cl-Rusinek
Cl-Palmer
Pno-Tal
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TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
FIRST WEEK
July 1-6
MORE SECTION D Friday 1:30 - 3:30
Mr. Hadcock MH 5
Mendelssohn Concert Piece //I
Cl-Prescott
Bsn-Coricelli
Pno-Shapiro FOR PERF. JULY 13
Ms. Pilot Video Room
Harp Master Class
Harp- Axon
Harp-Harlow
Mr. MacCourt MH 11
Carter 8 Etudes & a Fantasy
Fl-Bassett
Ob-Rhoads
Cl-Passin
Bsn-Paulson FOR PERF. JULY 23
Mr. Wyner Theatre
Bach Brandenburg Concerto No. 1
Vln-Qian
Vln-Hagglund
Vla-Trinh
Vlc-Schaling
Bass-Tyler
Ob-Olson^
Ob-Baker
Ob-Zirbel FOR PERF. JULY 13
Bsn-Beselin
Hrn-Danf orth
Hrn-Bowermaster
Hpsi-Loeb
SECTION E Saturday 1:00 - 3:00
Mr. Smith MH 7
Janacek Mladi
Fl-DeVoe
Ob-Baker
Cl-Rusinek FOR PERF. JULY 20
B Cl-Carroll
Bsn-Beselin
Hrn-Schulze
SECTION F Thursday 1:30 - 3:30
Mr. Hobart ChMusHall
Ravel Introduction and Allegro
Vln-Suh
Vln-Wang
Vla-Suzuki
Vlc-Sami FOR PERF. JULY 13
Fl-Bassett
Cl-Carroll
Hrp-Harlow
Mr. Voisin Studio F
Gabrieli Sonata Pian e forte
Hrn-Ver Meulen
Hrn-DeRoche
Trp-Weber
Trp-Nance
Trb-Carrerra
Trb-McElroy
Trb-Zion
Tba-Jarvis
■
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All coaching at Hall TANGLEWOOD MUSIC CENTER
School unless otherwise Fellowship Program
indicated Coaching
Tuesday, July 1
4:30-5:30 Helmrich/Cordell (Sibelius) 106
Highf ill/Bender (Lowe) 101
Decima/Ammons (Faure)
102
Garrett, Swenson (Enesco)
Fitch
Beattie/Abbott (Hahn)
MusRm
Johnson/ Scarbrough (Argento)
ArtRm
Dewey/Richardson (Amlin)
Barn
Wednesday, July 2
10-11 Highf ill/Dixon (Strauss) *
101
Helmrich/Champagne (Liszt)
ArtRm
Decima/Beattie/Abbott (Hahn)
MusRm
11-12 Decima/Ammons (Faure)
MusRm
Garrett/Saylor (Caplet)
102
Helmrich/Dewey/Richardson (Amlin)
ArtRm
Highf ill/ Johnson/ Scarbrough
(Argento)
101
12-1 Decima/Dixon (Janacek)
MusRm
Garrett/Grigg/Aliapoulos
106
Helmrich/Cordell (Sibelius)
ArtRm
Highf ill/Bender (Lowe)
101
Thursday, July 3
1:45- ' Oliver /Ami in/Cordell (Britten)
MusRm
2-3 Oliver/Amlin/Cordell/Bender/Dixon/
Scarbrough/Aliapoulos (Britten) MusRm
—“Garrett/Swenson (Enesco) 101
3- 4 Oliver/Amlin/Scarbrough (Britten)MusRm
Garrett/Saylor (Caplet) 101
Highf ill /Dixon (Strauss) Fitch
4- 5 Grigg/Aliapoulos Art Rm
Helmrich/Champagne (Liszt) MusRm
Johnson/ Scarbrough (Argento) 106
Friday, July 4
10- 11 Dewey /Richard son (Amlin) 101
Decima/ Ammons (Faure) ArtRm
Helmrich/Champagne (Liszt) MusRm
Highf ill/Bender (Lowe) Fitch
11- 12 Helmrich/Cordell (Sibelius) MusRm
Garrett/Swenson (Enesco) 102
Highf ill/Dixon (Strauss) Fitch
Saturday, July 5
2:30-3:30 Grigg/Aliapoulos 102
Beattie/ Abbott (Hahn) MusRm
Garrett/Saylor (Caplet ArtRm
FIRST WEEK
July 1-6
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Fellowship Program SECOND WEEK
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Fellowship Program SECOND WEEK
Composition July 7-13
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
SECOND WEEK
July 7-13
SECTION A Thursday and Friday
1:30 - 3:30
Mr. Kalish MH 6
Smetana Trio
Vln-Baumgartel
Vlc-Diaz FOR PERF. JULY 23
Pno-Nickrenz
Mr. Wolfe Scenic Shed
Schuller Bass Quartet
Bass- Johansson
Bass-Fabrizi FOR PERF. JULY 20
Bass-Peyrebrune
Bass-Kawazoe
Mr. Hadcock MH 5
Mendelssohn Concert Piece No. 1
Gl-Prescott
Bsn-Coricelli FOR PERF. JULY 13
Pno- Shapiro
Mr. Hobart ChMusHall
Ravel Introduction & Allegro
Vln-Suh
Vln-Wang
Via- Suzuki FOR PERF. JULY 13
Vlc-Sami
Fl-Bassett
Cl-Carroll
Hrp-Axon
Mr. Krosnick MH 13
Ravel Quartet
Vln-Lansdale
Vln-Kali
Vla-Chick FOR PERF. JULY 23
Vlc-Gruber
Mr. Feldman Rehearsal Stage
Yim Moments of Rising Mist
Vln-Forbes
Vic- Swift
FI (alto) -Porter
Cl-Palmer FOR PERF. JULY 19
Perc-Stirling
Hrp-IIarlow
Pno/ celesta-Ar cher
Mr. Levine MH 8
Mozart Trio
Vla-Ries
Cl-Rusinek FOR PERF. JULY 23
Pno-Loeb
Mr. Krasner MH 10
Mendelssohn OP. 44 No. 2
Vln-Kimura
Vln-Teshima
Via- Smith
Vic- Young
Ms. Churchill MH 15
Beethoven Op. 59 No. 1
Vln-Haid
Vln-Yaacobi
Vla-Leon
Vlc-Stirling
Mr. Fine Hayden //3
Mozart K. 575
Vln-Kim
Vln-Moreau
Vla-Schaum
Vlc-Parens
Mr. Lehner Studio J
Schubert Death & the Maiden
Vln-Rosin
Vln-Sone
Vla-Rilling
Vlc-Linf ield
SECTION B Monday and Tuesday 1:30 - 3:30
Mr. Levine MH 8
Mozart G minor Piano Quartet
Vln-Bentley
Vla-Richardson
Vlc-Barley FOR PERF. JULY 13 evening
Pno-Archer
Ms. Carmirelli MH 7
Schumann Piano Quintet
Vln-Schast
Vln-Tsao
Vla-Rubinstein FOR PERF. JULY 19
Vlc-Sigurdson
Pno-Kenner
Mr. Wyner Rehearsal Stage
Bach Brandenburg No. 1
Solo Vln-Qian
Vln-Goldstein
Vln-Hagglund
Vla-Trinh FOR PERF. JULY 13
Vlc-Schaling
Bass-Tyler
Ob-Olson
Ob-Stoyanovich
Ob-Zirbel
Bsn-Beselin
Hrn-Danf orth
Hrn-Bowermaster
Hpsi-Loeb
.
MORE SECTION B Monday and Tuesday
1:30 - 3:30
Mr. Krasner MH 10
Prokofiev Quintet
Vln-Wang
Vla-Sanders FOR PERF. JULY 19
Bass-Butler
Ob-Rhoads
Cl-Palmer
Mr. Silverstein Hayden #4
Beethoven Op. 59 No. 3
Vln-Miller
Vln-Fernandez
Vla-Qureshi
Vlc-Diaz
SECTION C Thursday and Saturday
3:45 - 5:45
Mr. Wyner ChMusHall
Mozart Divertimento No. 15
Vln-Moreau
Vln-Tsuchida
Vla-Richardson FOR PERF. JULY 15
Vlc-Barley
Hrn-Tomasiewicz
Mr. Serkin MH 7
Schoenberg Suite Op. 29
Vln-Forbes
Vla-Schaum
Vlc-Linf ield
E-flat Cl-Falmer FOR PERF. AUG. 3
B-flat Cl-Carroll
B Cl-Rusinek
Pno-Tal
Mr. Lehner Studio J
Bartok Quartet No. 6
Vln-Suh
Vln-Wolf f
Vla-Ries FOR PERF. JULY 27
Vic-Swift
Mr. MacCourt MH 11
Carter 8 Etudes & a Fantasy
Fl-Eassett
Ob-Rhoads
Cl-Passin FOR PERF. JULY 23
Bsn-Paulson
Ms. Carmirelli MH 15
Beethoven Op. 59 No. 2
Vliv-Carmirelli
Vln-Szlubowska
Vla-Trinh
Vlc-G ruber
SECOND WEEK
July 7-13
Thursday and Saturday
3:45 - 5:45
Mr. Levine Hawthorne //I
Schubert Octet
Vln-Lansdale
Vln-Kali
Vla-Sanders
Vlc-Parens FOR PERF.
Bass-Tyler
Cl-Prescott
Bsn-Coricelli
Hrn-VerMeulen
Mr. Krasner MH 10
Mozart K. 421
Vln-Guan
Vln-Parkins
VI a-Leon
Vlc-Stirling
Mr. Voisin Rehearsal Stage
Gabrieli Music for Brass
Trp-DiLorenzo
Trp-Kunkee
Trp-Nance
Trp-Rood
Trp-Weber
Trb-Carrera
Trb-McElroy
Trb-Zion
Trb-Van Schaik
Tba-Jarvis
SECTION D Friday 3:45 - 5:45
Saturday 1:30 - 3:30
Mr. Fleisher MH 4
Schubert Trout Quintet
Vln-Bichteler
Vla-Sanders
Vlc-Baldursson FOR PERF. JULY 20
Bass-Matteson
Pno-Sasaki
Mr . Smith MH 11
Janacek Mladi
Fl-DeVoe
Ob-Stoyanovich
Cl-Rusinek
B Cl-Carroll FOR PERF. JULY 20
Bsn-Beselin
Hrn-Schulze
Mr. Krosnick MH 13
Beethoven Op. 18 No. 2
Vln-Sone
Vln-Qian
Vla-Qureshi
Vlc-Schaling
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
MORE SECTION C
FOR PERF. JULY 20
.
Fellowship Program
Chamber Music
SECOND WEEK
July 7-13
MORE SECTION D Friday 3:45 - 5:45
Saturday 1:30 - 3:30
Mr. Rosen MH 10
Mozart K. 516
Vln-Goldstein
Vln-Haid
Vla-Rilling FOR PERF. JULY 19
Via- Suzuki
Blc-Sami
Mr. MacCourt Theatre
Krommer Partita Serenade
Ob-Blutnenfeld
Ob-Zirbel
Cl-Passin
Cl-Prescott FOR PERF. JULY 13
Bsn-Gaarder
Bsn-Paulson
CBsn-McGovem
Hrn-Bowermaster
Hrn-DeRoche
Mr. Wyner MH 7
Brahms Piano Quintet
Vln-Tsuchida
Vln-Kimura
Vla-Schaum FOR PERF. JULY 27
Vlc-Stirling
Pno- Shapiro
Ms. Carmirelli Rehearsal Stage
Tchaikovsky Souvenir Sextet
Vln-Carmirelli
Vln-Hagglund
Via- Smith
Via- Rubinstein
Vlc-Sigurdson
Vic- Young
Mr. Kalish MH 8
Mozart Piano Wind Quintet
Ob-01 son
Cl-Palmer
Bsn-Coricelli FOR PERF. JULY 27
Hm-Toma8iewicz
Pno-Tal
SECTION E Friday 1:30 - 3:30
Mr. Epstein Theatre
Cage Construction No. 1 *
Perc-Adams
Perc-Hall
Perc-Jutsum FOR PERF. JULY 19
Perc-Megna
Perc-Patterson
SECTION G Thursday 10:00 - 12:00
Mr. MacCourt MH 7
Perle Quintet
Fl-Kuenzel
0b-01 son
Cl-Palmer FOR PERF. AUG. 3
Bsn-Beselin
Hrn-Ver Meulen
Mr. Krasner MH 10
Takenltsu Rocking Mirror Daybreak
Vln-Sone
Vln- Rosin FOR PERF. AUG. 3
Mr. Serkin Theatre
Takemitsu Water Ways
Vln-Fernandez
Vic- Young
Cl-Passin
Vibes-Megna FOR PERF. AUG. 4
Vibes-Hall
Hrp-Axon
Hrp-Harlow
Pno-Sasaki
Mr. Knussen Rehearsal Stage
Gandolfi Personae
Vln-Baumgartel
Vla-Chick
Vlc-Baldursson
Bass-Butler FOR PERF. JULY 20
Fl-Sparks
Ob-Blumenfeld
Cl-Prescott
Hm-Danforth
Pno-Shapiro
ASSIGNED TO COMPOSERS SEMINAR
Thursday 3:45 - 5:45 Hawthorne //2
Vln-Bichteler
Vla-Qureshi
Bass-Kawazoe
Fl-Sparks
Hrn-Schulzt
Perc-Jutsum
Pno-Tal
COMING ATTRACTIONS
Lloyd Feuding Fiddles
Vlns-Szlubowska and Parkins
Drattell Double Concerto
Vln-Miller
Vlc-Parens
Cassatt Quartet
Mr. Lehner Tuesday 10:00 - 12:00 Studio J
Ms. Carmirelli Friday 10:00 - 12:00
MH 10
Mr. Knussen Saturday 10:00 - 12:00 MH 10
TANGLEWOOD MUSIC CENTER
Fellowship Program SECOND WEEK
Vocal Coaching July 7-13
Monday July 7
10-11 Garrett/Grigg/Aliapoulios (Rossini)
ArtRm
11-12 Garrett/Swenson (Enesco)
ArtRm
Highf ill/Pender (Lowe)
Barn
Helmrich/Cordell (Sibelius)
MusRm
Decima/Cotten (Poulenc)
Fitch
Johnson/Scarbrough (Argento)
102
12-1 Garrett/Saylor (Caplet)
Art Rm
Highf ill/Dixon (Strauss)
Barn
Helmrich/Champagne (Liszt)
MusRm
Decima/Beattie/Abbott (Hahn)
Fitch
1:30-3:30 Garrett/Dewey/Carlisle/Nomura
Medley .LaBelle , Aronson
ArtRm
H igh f il 1 /Kampme ier / Donovan , Chauv in ,
Shayne, Emory, Franko
Barn
Helmrich/Beatt ie/Lutter , Nunes , Moser ,
Ruff, Mouradjian
MusRm
Dec ima/ Johnson/Bouknigh t , Rosenbaum,
Murray, Thompson
Fitch
Oliver /Grigg/Kramar ,MCMillan , Okras inski ,
Peters
102
Tuesday, July 8
10-11 Beattie/Ruff
ArtRm
Grigg/Kramar
MusRura
11-12 Beattie/Moser
ARtRm
Grigg/Peters
MusRm
12-1 Highf ill/Donovan
ArtRm
Kampmeier/ Emory
102
12:30-1:30 Helmrich/Mouradjian
Fitch
1:30-2:30 Decima/Ammons (Faure)
ArtRm
Helmrich/Dewey/Richardson (Amlin)
Fitch
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Grigg/McMillan
102
Kampmeier/ Shayne
Barn
Johnson/Thompson
101
2:30-3:30 Decima/Dixon (Janacek)
ArtRm
Dewey/Medley
MusRm
Grigg/Okrasinski
102
Kampmeier /Franko
Barn
Johnson/Bouknight
101
Beattie/Lutter
Fitch
Wednesday, July 9
10-11 Oliver/Amlin/Cordell/Aliapoulios
(Britten
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Highf ill/Dixon (Strauss)
MusRm
Helmrich/Champagne (Liszt)
ArtRm
Decima/Cotten (Poulenc)
102
11-12 Dewey /Richard son/ Ami in (Amlin) ArtRm
Beattie/Abbott (H^hn)
MusRm
1-2 Highf ill/ Johnson/Scarbrough
(Argento)
Fitch
Decima/Ammons (Faure)
ArtRm
Helmrich/Cordell (Sibelius)
MusRm
1:30-2:30 Kampme ier /Chauv in
102
Dewey/Nomura
Barn
Wednesday July 9 continued
2-3 Highf ill/Bender (Lowe)
Fitch
2:30-3:30 Grigg/Aliapoulios (Rossini)
ArtRm
Beattie/Nunes
MusRm
Dewey /Aronson
Barn
Johnson/Murray
102
Thursday July 10
10-11 Dewey/ Aronson
artRm
Kampme ier /Emory
MusRm
Grigg/Okrasinski
102
11-12 Helmrich/Mouradjian
Fitch
Johnson/Rosenbaum
Barn
Dewey /Car lisle
ArtRm
Kampme ier / Ch auv in
MusRm
Grigg/Kramar
102
12-1 Johnson/Bouknight
Barn
Friday, July 11
1-2 Helmrich/Champagne (Liszt)
Fitch
Decima/Ammons (Faure)
ArtRm
Dewey/Medley
MusRm
Beattie/Moser
106
Grigg/McMillan
102
2-3 Decima/Cotten (Poulenc)
ArtRm
Dewey/Richardson (Amlin)
MusRm
Helmrich/Cordell (Sibelius)
Fitch
Kampme ier /Franko
102
Johnson/Murray
106
3-4 Decima/Beattie/Abbott (Hahn)
ArtRm
Kampme ier / Shayne
102
Johnson/Thompson
106
Grigg/Peters
MusRm
4-5 Dewey/Nomu- ra
106
Beattie/Nunes
MusRm
Saturday, July 12
10-11 Garrett/Grigg/Aliapoulios
(Rossini)
Mu sRm
Johnson/Rosenbaum
ArtRm
Beattie/Lutter
102
Highf ill/Donovan
Fitch
11-12 Highf ill/Dixon (Strauss)
Fitch
Dewey/Richardson (Amlin)
106
12-1 Highf ill/Bender (Lowe)
Fitch
4-5 Garrett/Saylor (Caplet)
ArtRm
Beattie/Ruff
106
5-6 Garrett/Swenson (Enesco)
ArtRm
NOTE: Tuesday 10-11 Dewey/Carlisle
102
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TANGLEWOOD MUSIC CENTER
Fellowship Program THIRD WEEK
Instrumental July 14-20
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TANGLEWOOD MUSIC CENTER
Fellowship Program THIRD WEEK
Conducting July 14-20
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Fellowship Program THIRD WEEK
Vocal July 14-20
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TANGLEWOOD MUSIC CENTER
Fellowship Program THIRD WEEK
Composition July 14-20
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
THIRD WEEK
July 14-20
SECTION A Wednesday and Friday
1:30 - 3:30
Mr. Kalish MH 6
Smetana Trio
Vln-Baumgartel
Vlc=Diaz FOR PERF. JULY 23
Pno-Nickrenz
Mr. Wolfe Scenic Shed
Schuller Bass Quartet
Bass- Johansson
Bass-Fabrizi
Bass-Peyrebrune FOR PERF. JULY 20
Bass-Kawazoe
Mr. Feldman Rehearsal Stage
Yim Moments of Rising Mist
Vln-Forbes
Vic-Swift
FI (alto) -Porter
Cl-Palmer FOR PERF. JULY 19
Perc-Stirling
Hrp-Harlow
Pno/ cel-Archer
Mr. MacCourt MH 15
Carter 8 Etudes & a Fantasy
Fl-Bassett
Ob-Rhoads
Cl-Passin FOR PERF. JULY 23
Bsn-Paulson
Mr. Fleisher MH 4
Schubert Trout Quintet
Vln-Bichteler
Vla-Sanders
Vlc-Baldursson FOR PERF. JULY 20
Bass-Matteson
Pno-Sasaki
Mr. Rosen MH 10
Mozart K. 516
Vln-Goldstein
Vln-Haid
Vla-Rilling FOR PERF. JULY 19
Vla-Suzuki
Vlc-Sami
Mr. Lehner Studio J
Bartok Quartet No. 3
Vln-Yaacobi
Vln-Bentley
Vla-Rubinstein
Vlc-Barley
Mr. Epstein Theatre
Kraft Suite for percussion
Perc-Adams
Perc-Hall FOR PERF. JULY 19
Perc-Jutsum
Perc-Patterson
Mr. Hobart Hayden //2
Beethoven Op. 18 No. 4
Vln-Guan
Vln-Tsao
Vla-Leon
Vlc-Schaling
Mrs. Churchill MH 12
Mozart K. 465
Vln-Lansdale
Vln-Moreau
Vla-Smith
Vic-Young
Mr. Fine Hayden // 3
Debussy Quartet
Vln-Hagglund
Vln-Schast
Vla-Richardson
Vlc-Sigurdson
Mr. Schlueter Studio F
Music for Brass
Trp-DiLorenzo
Trp-Kunkee
Trp-Nance
Trf>-Rood
Trb-Carrera
Trb-McElroy
Trb-Zion
Trb-Van Schaik
Tba-Jarvis
Mrs. Pilot Video Room
Jolivet Alla Rustics
Fl-Kuenzel
Hrp-Axon
Mr. Wyner Hawthorne // 1
On This Most Voluptuous Night
Vln-Kim
Vln-Fernandez
Vla-Schaum
Vlc-Parens FOR PERF. AUG. 2
Fl-Sparks
Hrn-Ver Meulen
Pno-Kenner
Sop-Richardson
■
SECTION B Monday and Tuesday
1:30 - 3:30
Mr. Krasner MH 10
Prokofiev Quintet
Vln-Wang
Vla-Sanders
Bas-Butler FOR PERF. JULY 19
Ob-Rhoads
Cl-Palmer
Mr. Lehner Studio J
Schubert Death & the Maiden
Vln-Rosin
Vln-Sone
Vla-Rilling
Vlc-Linf ield
Mr. High fill Hayden if 1
Argento To Be Sung Upon The Water
Cl-Prescott
Bl Cl-Passin FOR PERF.
Sop-Scarbrough
Ms. Carroirelli Hawthorne #1
Tchaikovsky Souvenir Sextet
Vln-Carmirelli
Vln-Hagglund
Vla-Smith
Vla-Rubinstein
Vlc-Sigurdson
Vic-Young
SECTION C Tuesday 3:45 - 5:45
Saturday 4:00 - 6:00
Mr. Krosnick MH 13
Ravel Quartet
Vln-Lansdale
Vln-ICali
Vla-Chick FOR PERF. JULY 23
VIc-Gruber
Mr. Levine MH 8
Mozart Trio
Vla-Ries
Cl-Rusinek FOR PERF. JULY 23
Pno-Loeb
Mr. Kalish MH 4
Mozart Piano Wind Quintet
Ob-Olson
Cl-Palmer
Bsn-Coricelli FOR PERF. JULY 27
Hrn-Tomasiewicz
Pno-Tal
THIRD WEEK
July 14-20
Tuesday 3:45 - 5:45
Saturday 4:00 - 6:00
Mr. Wyner MH 12
WFBach Sonata for 2 Flutes
Fl-DeVoe
Fl-Porter FOR PERF. JULY 27
Mr. Knussen Rehearsal Stage
Epstein Snow
VJn-Wolff
Vla-Suzuki
Vic-Swift FOR PERF. JULY 23
Bas-Matteson
Vibes-Patterson
Tenor-Abbott
SECTION D Wednesday and Friday
3:45 - 5:45
Mr. Levine Chamber Music Hall
Schubert Octet
Vln-Lansdale
Vln-Kali
Vla-Sanders
Vlc-Parens FOR PERF. AUG. 13
Bass-Tyler
Cl-Prescott
Bsn-Coricelli
Hrn-VerMeulen
Mr. Krosnick MH 13
Beethoven Op. 18 No. 2
Vln-Sone
Vln-Qian
Vla-Qureshi FOR PERF. JULY 20
Vlc-Schaling
Mr. Wyner MH 7
Brahms Piano Quintet
Vln-Tsuchida
Vln-Kimura
Vla-Schaum FOR PERF. JULY 27
Vlc-Stirling
Pno-Shapiro
Mr. Kalish Scenic Shed
Crumb Madrigal Book II
Alto Fl-Kuenzel
Perc-Megna FOR PERF. JULY 27
Sop-
Mr . Mann MH 15
Beethoven Op. 135
Vln-Mann (coach)
Vln-Haid
Vla-Trinh
Vic-Handy
TANGLEW00D MUSIC CENTER
Fellowship Program
Chamber Music
MORE SECTION C
TANGLEWOOD MUSIC CENTER
Fellowship Frog ram
Chamber Music
THIRD WEEK
July 14-20
SECTION D CONTINUED
Wednesday and Friday
3:45 - 5:45
Mr. Smirnoff MH 12
Lloyd Feuding Fiddles
Vlh-Szlubowska
Vln-Parkins FOR PERF. Aug. 3
Mr. MacCourt MH 11
Ravel Tombeau
Fl-Sparks
Ob-Zirbel
Cl-Carroll
Bsn-Gaarder
Hrn-Bowermaster
Mr. Fleisher MH 4
Beethoven Op. 70 No. 1
Vln-Tsao
Vlc-Sami
Pno-Loeb
SECTION E Monday and Thursday
10:00 - 12:00
Ms. Carmirelli Hawthorne it 2
Schumann Piano Quintet
Vln-Schast
Vln-Szlubowska
Vla-Rubinstein FOR PERF. JULY 19
Vlc-Sigurdson
Pno-Kenner
Mr. Serkin MH 4
Schoenberg Suite Op. 29
Vln-Forbes
Vla-Schaum
Vlc-L infield FOR PERF. AUG. 3
Cl-Falmer
Cl-Carroll
Cl-Rusinek
Pno-Tal
Mr. Lehner Studio J
Bartok Quartet No. 6
Vln-Suh
Vln-Wolff
Vla-Riess FOR PERF. JULY 27
Vic-Swift
Mr. Wyner MH 10
Brahms Op. 36
Vln-Teshima
Vln-Bichteler
Vla-Oureshi
Vla-Smith
Vlc-Sami
Vlc-G ruber
MORE SECTION E Monday and Thursday
10:00 - 12:00
Mr. Knussen West Barn Mon; Theatre Thu
Gandolfi Personae
Vln-Baumgartel
Vla-Chick
Vlc-Baldursson FOR PERF. JULY 20
Bass-Butler
Fl-Sparks
Ob-Blumenf eld
Cl-Prescott
Hrn-DeRoche
Pno-Shapiro
Mr. Voisin Rehearsal Stage
Ibert Capriccio
Vln-Bentley
Vln-Fernandez
Vla-Richardson
Vlc-Barley
Fl-Bassett
Ob-Zirbel
Cl-Passin
BsnOBeselin
Trp-Weber
Hrp-Axon
Mr. Levine MH 7
Mendelssohn Piano Sextet Op. 110
Vln-Miller
Vla-Trinh
Vla-Rilling
Vlc-Stirling
Bas-Kawazoe
Pno-Nickrenz
SECTION F Wednesday 3:45 - 5:45
Mr. Krasner MH 10
Takemltsu Rocking Mirror Daybreak
Vln-Sone
Vln-Rosin FOR PERF. AUG. 3
Mr. Serkin Theatre
Takemitsu Water Ways
Vln-Fernandez
Vic-Young
Cl-Passin
Vibes-Megna FOR PERF. AUG. 4
Vibes-Hall
Hrp=Axon
Hrp-Harlow
Pno-Sasaki
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
THIRD WEEK
July 14-20
SECTION G Friday 3:45 - 5:45
Mr. Barker Rehearsal Stage
Bass Class
Bass-Butler
Bass-Fabrizi
Bass- Johansson
Bass-Kawazoe
Bass-Matteson
Bass-Peyrebrune
SECTION H Monday and Thursday
7:30 - 9:30 p.m.
Mr. Krosnick HS Art Room
Brahms Quintet in G Major *
Vln-Milfer
Vln-Parkins
Vla-Suzuki FOR PERF. UAG. 10
Vla-Leon
Vlc-Diaz
Mr. Rhodes HL Music Room
Schubert Op. 29
Vln-Moreau
Vln-Wang
Vla-Ries
Vlc-Linf ield
COMING ATTRACTIONS
D'rattell Double Concerto
Vln-Miller
Vlc-Parens
CASSATT QUARTET
Mr. Lehner
Studio J
Tuesday 10:00 -12:00
Mr. Knussen
MH 10
Saturday 10:00 - 12:00
Ms. Carmirelli Wednesday 10:00 - 12:00
MH 10
Mr. Krasner
MH 10
Friday 10:00 - 12:00
SECTION I Friday 1:30 - 3:30
Mr. Hadcock MH 15
Nielsen Serenata-Invano
Vic-Handy
Bass-Tyler
Cl-Prescott
Bsn-McGovern
Hrn-Danf orth
SECTION J Monday and Friday
1:30 - 3:30
Mr. Smith MH 11
Janacek Mladl
Fl-DeVoe
Ob-Stoyanovich
Cl-Rusinek FOR PERF. JULY 20
B Cl-Carroll
Bsn-Beselin
Hrn-Schulze
L-
.
.
'
TANGLEWOOD MUSIC CENTER
Fellowship Program THIRD WEEK
Vocal Coaching July 14-20
Monday July 14
10- 11 Highf ill/Dixon (Strauss) Fitch
Dec ima/ Ammo ns (Faure) Barn
11- 12 Helmrich/Cordell (Sibelius/Stout)
ArtRm
Decima/Cotten (Poulenc) Barn
Garrett/Bender (Shostakovich) MusRm
Highf ill/Richardson (Schubert) Fitch
Kampmeier /Champagne (Faure) 102
12- 1 Helmrich/Aliapoulios (Rachm.) ArtRm
Garrett/Saylor (Caplet) MusRm
1:30-2:30 Kampmeier/Chauvin MusRm
Oliver/Grigg/add Kramar at 1:45 Art
1:30-3:30 Highf ill/ John§on/Scarbiiough i.l
(Argento) Hayden.' #1
2:30-3:30 Dewey/Nomura MusRm
Garrett/LaBelle Fitch
Grigg/Okrasinski Barn
Beattie/Moser 102
Kampmeier /Franko Art
Tuesday July 15
10-11 Highf ill /Donovan Art
Johnson/Murray Mus
Grigg/Kramar 102
Beattie/Nunes Barn
Dewey/Aronson Fitch
12:30-1:30 Grigg/McMillan 102
Johnson/Bouknight Barn
Dewey/Carlisle Fitch
Beattie/Lutter Mus
1 : 30-3 : 30 Highf ill/ Johnson/Scarbrough
(Argento) Hayden #1
1:30-2:30 Decima/Dixon (Janacek) Art
Wyner/Richardson (Wyner) Hayden // 2
Helmrich/Mouradjian Mus
Garrett/Labelle Fitch
ICampmeier/Emory 101
Grigg/Peters 102
2:30-3:30 Helmrich/Cordell (Sibelius/Stout)
Mus
Garrett /Beat tie/ Swenson (Schoenberg)
Fitch
Kampmeier/Shayne 101
Dewey/Medley Art
3:30-4:30 Beattie/Ruff 106
3:45-5:45 Abbott + Chamb. ensemble (Epstein)
ReftStg
4:15-5:15 Johnson/Rosenbaum Art
5:15-6:15 Johnson/Thompson Art
Wednesday, July 16
10- 11 Deciraa /Ammons (Faure) Art
Helmrich/Aliapoulios (Rachm.) Fitch
Highf ill/Richardson (Schubert) Mus
Kampmeier /Champagne (Faure) 102
11- 12 1'ecima/Beattie/A.bbott (Hahn) Art
Highf ill/Dixon (Strauss) Mus
Garrett/Saylor (Caplet) Fitch
Wednesday, July 16 continued
12-1 Dewey /Cot ten (Brahms) Mus
1:30-3:30 Wyner/Richardson + ensemble
(Wyner) Hawthorne #1
Oliver /Grigg/Peters, Okras inski,
McMillan, Kramar Art
Garre tt /Dewey/ Aronson, Labelle, Medley ,
Nomura, Carlisle Mus
Decima/ Johnson/Thompson, Mur ray,
Rosenbaum, Bouknight Barn
H igh f il 1 /Kampme ier /F ranko , Emory ,
Shayne,Chauvin, Donovan 102
Helmrich/Beattie/Ruff .Moser ,
Mouradj ian, Nunes, Lutter Ritch
3:45-5:45 LaBelle + ensemble (Crumb)
ScenicShd
Thursday, July 17
12:30-1:30 Garrett/LaBelle Mus
1:30-2:30 Wyner/Richardson (Wyner)
Hayden 2
2:30-3:30 Highf ill/Richardson (Schubert)
Mus
Garrett/Bender (Shostak.) Art
Helmrich/Cordell (Sibelius/ Stout)
102
3:30-4:30 Helmrich/Mouradjian 102
Garrett/Beattie/Swenson (Schoenberg)
Art
4- 5 Decima/Dixon (Janacek) Fitch
Grigg/Kramar 102
Kampraeier/Emory Mus
Johnson/Bouknight 106
4:30-5:30 Beattie/Abbott (Hahn) Art
5- 6 Decima/Karapmeier/Champagne (Faure)
Fitch
Friday July 18
1-2 Decima/Beattie/Abbott (Hahn) Fitch
Helmrich/Aliapoulios (Rachm.) Mus
Highf ill /Dixon (Strauss) Art
Garrett/Bender (Shostak.) 106
Dewey/ Aronson 102
Kampmeier/Shayne Barn
1:30-3:30 Wyner/Richardson + ensemble
(Wyner) Hayden 2
2- 3 Decima/Ammons (Faure) Fitch
Garrett/Saylor (Caplet) 106
Helmrich/Cordell (Sibelius/ Stout)
MusRm
Highf ill/Donovan Art
Johnson/Murray 102
Grigg/McMillan Barn
3- 4 Carrett/Beattie/Swenson (Schoenb.)
106
Dewey /Nomura Mus
Kampmeier/Chauvin Art
Johnson/Rosenbaum 102
Grigg/Peters Barn
.
.
;
TANCLEWOOD MUSIC CENTER
Fellowship Program
Vocal Coaching
Friday, July 18 continued
3:45-5:45 LaBelle + ens. (Crumb) ScenicShd
4-5 Beattie/Moser
106
Dowey/Cotten (Brahms)
Mus
Saturday July 19
10-11 Beattie/Ruff
Fitch
Dewey/Cotten (Brahms
106
11-12 Beattie/Lutter
Hitch
Johnson/Thompson
Art
Grigg/Okraskinski
Mus
Dewey/Medley
106
Kampmeier/ Emory
102
12-1 Beattie/Nunes
Fitch
Dewey/Carlisle
106
4-6 Abbott/ensemble (Epstein)
RehStage
THIRD WEEK
July 14-20
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Fellowship Program FOURTH WEEK
Conducting July 21-27
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TANGLE WOOD MUSIC CENTER
Fellowship Program FOURTH WEEK
Vocal July 21-27
32
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TANGLEWOOD MUSIC CENTER
Fellowship Program FOURTH WEEK
Composition July 21-27
A
TANGLEWOOD MUSIC CENTER
Fellowship Program
FOURTH WEEK
July 21-27
REHEARSAL SCHEDULE FOR FESTIVAL OF CONTEMPORARY MUSIC
FCM I :FCM II FCM III
Mon. 21st
Knussen 1:00-2:00
RehStage
Bainbridge 1:00-2:00:'
ChMusHall
Carter 2:00-3:30
Theatre
Wyner 2:00 - 3:30
ChMusHall
Wed. 23rd morning ‘Wed. 23rd morning
Knussen 10:00-11:00 Takemitsu 10:00-
Reh Stage ;MH 7 12:00
:Bainbridge 10 :00-ll :OQSchoenberg 11:30-
Schuller 11:00-12:00 |MH 4 1:00
RehStage >
Carter 12:00-1:00
Theatre
Wyner 12:00-1:00
RehStage
Wed. 23rd evening
Knussen 7:30-8:30
WEstBarn
Bainbridge 8:30-9:30
West Barn
Wyner 9:30-10:30
WestBarn
ted. 23rd evening
Schoenberg 7:30-
EastBarn 8:15
Takemitsu 8:15-
EastBarn 9:00
Schoenberg 9:00-
lEastBarn 10:30
Thur. 24th evening
Carter 7:30-9:00
WestBarn
Schuller 9:00-10:30
WestBarn
Saturday 26th
Carter 4:00-5:30
WestBarn
Wyner 5:30-6:30
ChMusHall
Schuller 5:30-6:30
RehStage
Sunday 27th evening
Carter 7:30-9:30
WestBarn
Wyner 7:30-9:00
EastBarn
Knussen 9:30-10:30
WestBarn
Bainbridge 9:30-10:30
EastBarn
jlhurs. 24th evening
Schoenberg 7:30-
;EastBarn 10:30
Saturday 26th
Takemitsu 4:00-
MH 7 5:30
^Schoenberg 4:00-
!MH 4 6:30
Sunday 27th
jTakemitsu 7:30-
HSArtRm 9:00
Schoenberg 7:30-
HS Fitch 10:30
Mon. 21st
Andriessen 1;00-
WestBarn 3:30
Tues. 22nd
Perle 1:00-2:00
MH 10
Drattell 1:00-2:00
Theatre
Andriessen 1 : 00-
; ChMusHall 3:30
Abrahamsen 2: 00-
Theatre 6:00
Thu. 24th
Perle 3:45-4:30
MH 10
Andriessen 3:45-
WestBarn 5:00
Drattell 3:45-4:30
RehStage
Abrahamsen 5: 15-
Theatre 6:15
Fri. 25th afternoon
Perle 3:45-5:00
MH 10
Drattell 3:45-5:00
ChMusHall
Andriessen 3:45-6:15
RehStage
Abrahamsen 5:00-6:15
WestBarn
Fri. 25th evening
Andriessen 7:15-8:45
HS Barn
Abrahamsen 7:15-8:45
WestBarn
Sat. 26th
Perle 1:00-2:30
Hawthorne #2
Drattell 1:00-2:30
HS Barn
Andriessen 1:00-3:30
Hawthorne #1
Abrahamsen 2:30-4
EastBarn
FCM IV
Tues. 22nd
Thorne 1:00-3:30
West Barn
Takemitsu 1:00-2:30
RehStage
Stout 3:30-4:30
WestBarn
Neikrug 4:30-6:00
RehStage
Thu. 24th
Thorne 3:45-5:15
Theatre
Takemitsu 3:45-4:45
ChMusHall
Stout 5:15-6:15
WestBarn
Fri. 25th afternoon
Stout 3:45-4:45
EastBarn
Neikrug 4:45-6:15
EastBarn
Friday 25th evening
Thorn 7:15-8:45
EastBarn
Sat. 26th
Takemitsu 1:00-2:30
EastBarn
Thorne 1:00-2:30
WestBarn
Stout 2:30-3:15
WestBarn
Neikrug 3:15-4:00
WestBarn
^Bainbridge Wed.
morning in Theatre
' \
V
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TANGLEWOOD MUSIC CENTER
Fellowship Program
FCM I - Saturday, August 2 at 2:00 - Theatre
Knussen Fanfares
Hrn-Bo we r master
Hrn-Danforth
Hrn-DeRoche
Hrn-Schulze
Hrn-Tomasiewicz
Hrn-VerMeulen
Trp-DiEorenzo
Trp~Kunkee
Trp-Nance
Trp-Weber
Trb-Carrera
Trb-McElroy
Trb-Zion
Trb-Van Schaik
Tba-Jarvis
Perc-Stirling
Perc-Patterson
Perc-Hall
Mr. Meier
Knussen Coursing
Vln-Suh
Vln-Tsao
Vla-Sraith
Vlc-Gruber
Bas-Fabrizi
Fl-Kuenzel
Ob-Stoyanovich
Cl-Passin
Bsn-Paulson
Hrn-Danforth
Trp-Weber
Trb-McElroy
Perc-Jutsum
Pno-Shapiro
Wyner , On this most voluptuous night
Vln-Kim
Vln-Fernandez
Vla-Ries
Vlc-Parens
Fl-Sparks
Hrn-Ver Meulen
Pno-Kenner
Sop-Richardson
Mr. Knussen
Schuller Concertino Da Camera
Vln-Baumgartel
Vla-Rilling
Vlc-Sigurdson
Bass-Kawazoe
Fl,picc,A fl-Bassett
Ob-Rhoads
Cl-Prescott
Cl, B Cl-Passin
Bsn-Beselin
Hrn-Schulze
Trp-Nance
Trb-Carrera
Perc-Adams
Perc-Megna
Hrp-Harlow
Pno-Archer
Cel-Sasaki
Mr. Gibson
Bainbridge Concertante in moto perpetuo
Solo ob-Zirbel
Vln-Rosin
Vln-Yaacobi
Vla-Leon
Vlc-Baldursson
Bass-Butler
Fl-Porter
Cl-Prescott
H r n- B owe r ma s t e r
Mr. Knussen
Carter Penthode
Vln-Miller
Vln-Wolff
Vla-Chick
Vlc-Stirling
Bass-Matteson
FI, picc, Alto-DeVoe
Ob, E .H .-Blumenfeld
Cl, E-f lat-Passin
Bass, CBass Cl-Prescott
Bsn-Coricelli
Hrn-Tomasiewicz
Trp-Kunkee
Trp-Rood
Trb-Carrera
Tba-Jarvis
Perc-Megna
Perc-Adams
Perc-Patterson
Hrp-Axon
Pno-Nickrenz
/
TANGLEWOOD MUSIC CENTER
Fellowship Program
FCM II - Sunday, August 3 at 10:00 a.m. - Theatre
Britten, String Quartet No. 3
The Cassatt Quartet
Vln-GoTdberg- — —
Vln-Pena
Vla-Raileanu
Cholakian
Mr. Krasner
Takemitsu Rocking Mirror Daybreak
Vln-Sone
Vln- Rosin
Mr. Serkin
Schoenberg Suite Op. 29
Vln-Forbes
Vla-Schaum
Vlc-L infield
Cl-Palmer
Cl-Carroll
Cl-Rusinek
Pno~Ta
FCM III - Sunday, August 3 at 8:30
Mr. Kalish
Feldman, Piece for 4 Pianos
Pno-Archer
Pno-Nickrenz
Pno-Tal
Pno-Loeb
Mr. MacCourt
Perle Quintet
Fl-Kuenzel
Ob-Olson
Cl-Palmer
Bsn-Beselin
Hrn-Tomasiewicz
Mr. St. Clair
Abrahamsen Marchenbilder
Vln-Forbes
Vln-Goldstein
Vla-Qureshi
Vlc-Barley
Bass-Tyler
Fl-Porter
Ob-Olson
Cl-Pafiffler
Bsn-McGovern
Hrn-DeRoche
Trp-Rood
Trb-McElroy
Perc-Stirling
Pno-Loeb
- Theatre
Ms. Pfund
Drattell, Double Concerto
Solo Vln-Miller
Solo Vlc-Parens
Vln-Blchteler
Vla-Sanders
Bass-Peyrebrune
Fl-Bassett
EH-Rhoads
Cl-Carroll
B Cl-Prescott
Bsn-Gaarder
Hrn-Bowermaster
Mr. Westerfield
Andriessen Symphony
V In-Kali
Vln-Moreau
Vln-Qian
Vln-Sone
Vln-Yaacobi
Vla-Suzuki
Vla-Rubinstein
Vlc-Baldursson
Vic-Handy
Vlc-Schaling
Bass-Butler
Bass- Johansson
TANGLEWOOD MUSIC CENTER
Fellowship Program
F^CH IV - Monday, August 4 at 8; 30 - Theatre
Mr. Knussen
Neikrug Mobile
Vln-Parkins
Vln-Wang
Vla-Leon
Vlc-Diaz
Bass-Kawazoe
Fl-Kuenzel
Fl-Sparks
Ob-Zirbel
Cl-Rusinek
Cl-Prescott
Cl, BCl-Passin
Per c- Adams
Perc-Jutsum
Pno-Kenner
Mr. Serkin
Takemitsu Water Ways
Vln-Fernandez
Vic-Young
Cl-Passin
Vibes-Megna
Vibes-Hall
Hrp-Axon
Hrp-Harlow
Pno-Sasaki
Mr . HoertiChi
Stout Cinq Visages de LaForgue
Vln-Lansdale
Vln-Kimura
Vln-Bentley
Vln-Haid
Vln-Schast
Vla-Chick
Vla-Richardson
Vla-Trinh
Vla-Schaum
Vlc-G ruber
Vic- Sami
Vlc-Sigurdson
Vic-Swift
Bass-Fabrizi
Bass-Mat teson
Fl-DeVoe
A Fl-Sparks
BassFl-Kuenzel
Ob-Blumenf eld
EH-Stoyanovich
Cl-Rusinek
B Cl-Passin
Trp-DiLorenzo
Perc-Patterson
Perc-Hall
Pno,cel-Sasaki
Sop-Cordell
Mr. Fleisher
Thorne Passion of the Heart
First vlns-Kim
Rosin
Baumgartel
Szlubowska
Guan
Tesh ima
2nd Vlns- Hagglund
Suh
Tsuchida
Tsao
Wolff
Schast
Vla-Ries
Vla-Smith
Vla-Rilling
Vla-Trinh
Vlc-Linf ield
Vlc-Stirling
Vic- Swift
Vlc-Sami
Bass-Mat teson
Bass-Fabrizi
FI, Picc, AFl-DeVoe
Ob=Stoyanovich
Ob , EH-Bluraenf eld
Cl-Rusinek
Bsn-Beselin
Bsn-Paulson
Hrn-Schulze
Hrn-Tomasiewicz
Trp-Kunkee
Timp-*Patterson
Pno-Shapiro
.
.
..
.
..
*
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
FOURTH WEEK
July 21-27
SECTION A Thursday and Friday
1:30 - 3:30
Mr. Kalish Rehearsal Stage
Crumb Madrigal Book II
AFl-Kuenzel
Perc-Jutsum FOR PERF. JULY 27
Sop-LaBelle
Mr. Levine West Barn
Schubert Octet
Vln-Lansdale
Vln-Kali
Vla-Sanders
Vlc-Parens FOR PERF. AUG. 13
Bass-Tyler
Cl-Prescott
Bsn-Coricelli
Hrn-VerMeulen
Mr. Krasner MH 10
Schoenberg Verklarte Nacht
Vln-Kim
Vln-Moreau
Vla-Rilling FOR PERF. AUG. 24
Vla-Rubinstein
Vlc-Diaz
Vic- Young
Mr. Kro snick MH 13
Shostakovich Quartet No. 7
Fln-Fernandez
Vln-Suh
Vla-Trinh FOR PERF. AUG. 10
Vlc-Stirling
Mr. Fleisher MH 4
Beethoven Op. 70 No. 1
Vln-Tsao
Vlc-Sami
Pno-Loeb
Mr. Wyner MH 11
Brahms Op. 36
Vln-Teshima
Vln-Bichteier
Vla-Qureshi
Via- Smith
Vlc-Linf ield
Vlc-Gruber
Ms. Carmirelli MH 15
Beethoven Op. 18 No. 1
Vln-Qian
Vln-Szlubowska
Vla-Leon
Vic-Handy
SECTION B Thursday, Friday and Saturday
8:45 - 9:45 A.M.
MR. Highfill Hayden #1
Argento To Be Sung Upon The Water
Cl-Prescott
BCl-Passin
Pno- Johnson FOR PERF. JULY 27
Sop- Scarbrough
Mr. Kalish MH 4
Mozart Piano Wind Quintet
Ob-Olson
Cl-Palmer
Bsn-Coricelli FOR PERF. JULY 27
Hrn-Tomas iewicz
Pno-Tal
Mr. Wyner MH 7
Brahms Piano Quintet
Vln-Tsuchida
Vln-Kimura
Vla-Schaum FOR PERF. JULY 27
Vlc-Stirling
Pno- Shapiro
Mr. Lehner Studio J
Bartok Quartet No. 3
Vln-Suh
Vln-Wolff FOR PERF. JULY 27
Vla-Ries
Vic- Swift
Mr. Krosnick MH 10
Brahms Quintet
Vln-Miller
Vln-Parkins
Via- Suzuki FOR PERF. AUG. 10
Vla-Leon
Vlc-Diaz
Mr. Krasner MH 8
Bartok Contrasts
Vln-Sone
Cl-Rusinek FOR PERF.
Pno-Loeb
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
FOURTH WEEK
July 21-27
SECTION C Monday, Tuesday, Wednesday
8:45 - 9:45 a.m.
Mr. Kalish MH 6
Smetana Trio
Vln-3aumgartel
Vlc-Diaz FOR PERF. JULY 23
Pno-Nickrenz
Mr. MacCourt MH 11
Carter 8 Etudes-':&.a Fantasy
Fl-Bassett
Ob-Rhoads
Cl-Passin FOR PERF. JULY 23
Bsn-Paulson
Mr. Krosnick MH 13
Ravel Quartet
Vln-Lansdale
Vln-Kali
Vla-Chick FOR PERF. JULY 23
Vlc-G ruber
Mr. Levine MH 8
Mozart Trio
Vla-Ries
Cl-Rusinek FOR PERF. JULY 23
Pno-Loeb
Mr. Knussen Theatre
Epstein Snow
Vin-Wolff
Vla-Suzuki
Vic- Swift FOR PERF. JULY 23
Bas-Fabrizi
Vibes-Patterson
Tenor-Abbott
Mr . Wyner MH 1 2
WFBach Sonata for 2 Flutes *
Fl-DeVoe
FI-PorterFOR PERF. JULY 27
Mr. Lehner Studio J
Bartok No. 6
Vln-Yaacobi
Vln-Bentley
Vla-Rubinstein
Vlc-Barley
Mr. Mann MH 10
Beethoven Op. 135
Vln-Kim
Vln-Haid
Vla-Trinn
Vic-Handy
SECTION D Friday 1:30 - 3:30
Mr. Barker Theatre
Bass Class
Bass- Butler
Bass-Fabrizi
Bass- Johansson
Bass-Kawazoe
Bass-Matteson
Bass-Peyrebrune
Mr. Schlueter Studio F
Trumpet Class
Trp-D iLorenzo
Trp-Kunkee
Trp-Nance
Trp-Rood
Trp-Weber
Mr. Barron Studio E
Trombone, Tuba class
Trb-Carrera
Trb-McElroy
Trb-Van Schaik
Trb-Zion
Tba-Jarvis
Instrumentalists for Composition Seminar
Wednesday 10:00 - 12:00 Hawthorne //2
Vln-Guan
Vln-Sone
Vla-Rubinstein
Vlc-Barley
Bass- Johansson
Ob-Olson
Bsn-McGovern
Pno-Loeb
COMING ATTRACTIONS
Schoenberg Ode to Napoleon
Vln-Parkins
Vln-Goldstein FOR PERF. AUG. 17
Via- Smith
Vlc-Parens
Pno-Nickrenz
Narr-Saylor
Copland Sextet
Vln-Hagglund
Vln-Baumg artel
Vla-Qureshi
Vic-Handy FOR PERF. AUG. 13
Cl-Carroll
Pno-Archer
Kirchner Piano Trio
Vln-Miller
Vlc-Linf ield
Pno-Tal
FOR PERF. AUG. 17
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
FOURTH WEEK
July 21-27
Cassatt Quartet
Mr. Krasner, Mr. Knussen - Britten Quartet Tuesday and Friday 10:00 - 12:00
MH 10
Mr. Lehner Wednesday 10:00 - 12:00 Studio J
Ms. Carmirelli MOnday 10:00 - 12:00 MH 10
ALL COACHINGS ONE HOUR LONG
UNLESS OTHERWISE NOTED
TANGLEWOOD MUSIC CENTER
Fellowship Program
Vocal Coaching
Monday, July 21
8:45- Abbott + ensemble (Epstein) Theatre
9:30 Helmrich/Ammons (Falla) Art
Dewey/Cotten (Brahms) Barn
Johnson/Thompson 102
Beattie/Nunes 101
Highf ill/Richardson (Schubert) Fitch
Decima/Dixon (Janacek) Mus
2-3:30 Richardson + ensemble (Wyner)ChMus
2:15 Dewey/Nomura Mus
Helmrich/Beattie/Swenson (Mahler)
Art
Tuesday July 22
8:45 Abbott + ensemble (Epstein)
Theatre
10 Dewey/ Aronson
Art
Garrett/LaBelle
Mus
Johnson/Murray
101
Beattie/Moser
102
Kampmeier/Franko
Fitch
12:30 Dewey/Medley
Art
Johnson/Bouknight
Mus
Beattie/Ruff
102
Highf ill/Donovan
Fitch
1:30 Dewey /Carl isle
Art
Johnson/Rosenbaum
Mus
Grigg/Okrasinski
101
Beattie/Abbott (Hahn)
Barn
Helmrich/Aliapoulios (Rachra.)
102
Garrett/Saylor (Caplet) Fitch
3-5 Oliver/Grigg/Kramar ,Okrasinski Fitch
Dec ima/ Johnson/ Bouknigh t , Rosenb aum ,
Murray .Thompson Art
Helmrich/Beattie/Lut ter .Nunes, Moser,
Ruff, Mus
Highf ill/Kampmeier/Donovan,Franko 106
Garrett/DeweyVCarlise, Nomura, Medley ,
LaBelle, Aronson Fitch
3:30 Cordell + ensemble (Stout) WestBarn
5 Johnson/Rosenbaum Art
Wednesday, July 23
3:45
Abbott + Ensemble (Epstein)
Theatre
11
Helmrich/Aliapoulios (Rachm.
) Art
Garrett/Dewey/Cotten (Brahms) Mus
11:30
Decima/Dixon (Janacek)
Fitch
12
Helmrich/Ammons (Falla)
Art
Garrett/Bender (Shostak.)
Mus
Beat tie /Swenson (Mahler)
101
Highf ill/Cordell (Brahms)
102
12:30
Decima/Kampmeier/Champagne(Faure)
Fitch
Wyner/Richardson ensemble
(Wyner)
RehStg
t
L
Beattie/Ruff
102
>
Kampmeier /Dixon (Glanert)
Art
Dewey /Medley
101
Beattie/Moser
102
Johnson/Murray
Barn
Grigg/Kramar
Mus
FOURTH WEEK
July21-27
Wednesday July 23 continued
5 Dewey/Aronson Art
Beattie/Nunes 106
Johnson/Thompson Mus
9:30 Wyner/Richardson + ensemble (wyner)
WestBrn
Thursday July 24
8:45 Highf ill/Johnson/Scarbrough (Argento)
Hayden 1
10 Dewey/Carlisle Art
Grigg/Okrasinski Mus
Garrett/LaBelle Fitch
11 Dewey/Nomura Art
Kampmeier/Franko 102
Johnson/Bouknight Mus
1:30-3:30 LaBelle + Ensemble (Crumb)
RehStag
4 Dec ima/ Beat tie/ Abbott (Hahn) Art
Kampmeier/Champagne (Faure) Mus
Highf ill/Richardson (Schubert) 106
5 Deicma/Scarbrough (Menotti) Art
Kampmeier /Saylor (Glanert) Mus
5:15 Cordell +-ensemble (Stout) WestBarn
Friday, July 25
8:45 Highf ill/Johnson/Scarbrough (Argento)
Hayden 1
1$ Garrett/Bender (Shostak.) Mus
Dec ima/Kampmeier /Champagne (Faure) Art
Helmrich/Beattie/Swenson (Mahler) 106
10:15 Highf ill/Richardson (Schubert)Fitch
11 Helmrich/Aliapoulios (Rachm.)
106
Decima/Beattie/Abbott (Hahn)
Art
Dewey/Cotten (Brahms)
101
Kampmeier/Scarbrough (Glanert)
102
11:15 Highf ill/Cordell (Brahms)
Fitch
1:30-3:30 LaBelle + ensemble (Crumb)
RehStg
3:30 Decima/Scarbrough (Menotti)
Art
3:45 Cordell + ensemble (Stout) EastBarn
4:30 Decima/Dixon (Janacek)
Art
Saturday, July 26
8:45 Highf ill/Johnson/Scarbrough
(Argento)
Hayden #1
11 Helmrich/Ammons (Falla)
Art
Garrett/Bender (Shost.)
106
Highf ill/Cordell (Brahms)
Mus
Kampmeier/Saylor (Glanert)
Fitch
12 Kampmeier/Dixon (Glanert)
Fitch
2:30-3:15 Cordell + ensemble (Stout)
WestBrn
3 Kampm^-£er/Scarbrough (Glanert) Fitch
5:30 Wyner/Richardson + ensemble (Wyner)
ChMusHl
Sunday, July 27
7:30-9 p.m. Wyner/Richardson + (Wyner)
EastBarn
ADDITIONAL COACHINGS WILL BE ADDED (Seminar)
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TANGLEWOOD MUSIC CENTER
Fellowship Program FIFTH WEEK
Instrumental July 28 - Aug
TANGLEWOOD MUSIC CENTER
Fellowship Program FIFTH WEEK
Conducting July 28 - Aug.
r
TANGLEWOOD MUSIC CENTER
Fellowship Program FIFTH WEEK
Vocal July 28-Aug.
TANGLEWOOD MUSIC CENTER
Fellowship Program FIFTH WEEK
Composition July 28-Aug
TANGLEWOOD MUSIC CENTER
Fellowship Program FIFTH WEEK
July 28 - Aug. 3
REHEARSAL SCHEDULE FOR
FESTIVAL OF
CONTEMPORARY MUSIC
FCM I
FCM II
Mon. 28th
Mon. 28th
Carter 1:00-3:00
RehStage
Takemitsu 1:00-3:00
MH 7
Wyner 1:00-3:00
WestBam
Schoenberg 3:00-6:00
MH 4
Bainbridge 3:00-4:00
WestBarn
Lloyd 3:00-6:00
MH 7
Knussen 3:00-4:30
RehStage
Schuller 4:30-6:00
RehStage
Tues . 29th evening
Tue. 29th evening
Knussen 7:30-9:00
EastBam
Takemitsu 7:30-9:30
HS MusicRoom
Bainbridge 7:30-9:00
WestBarn
Schoenberg 7:30-10:30
HS Fitch
Wyner 9:00-10:30
WestBarn
Lloyd 7:30-9:30
HS ArtRoom
Schuller 9:00-10:30
East Barn
Carter 10:30-11+30
WestBarn
Wed. 30th
Wed. 30th
Knussen 3:45-4:45
RehStage
Schoenberg 3:45-5:45
MH 4
Bainbridge 3:45-4:45
WestBarn
Lloyd 3:45-5:45
MH 7
Carter 4:45-5:45
RehStage
Wyner 4:45-5:45
WestBam
Schuller 5:45-6:30
RehStage
Thu. 31st evening
Knussen 7:30-8:30
EastBarn
Thu. 31st evening
Schoenberg 7:30-9:30
HS Fitch
Bainbridge 7:30-8:30
WestBarn
Schuller 8:30-9:30
EastBarn
Wyner 8:30-9:30
WestBam
Carter 9:30-11:30
WestBam
NOTE: ALL ABOVE KNUSSEN REHEARSALS
ARE FOR "COURSING"
Fri. 1st Dress Rehearsal - Theatre
Sat. 2nd. Dress Rehearsal
- Theatre
Knussen Fanfares
Knussen Coursing
Wyner
Schuller
Bainbridge
2:30 - 3:30
3:30 - 4:05
4:10 - 4:45
4:50 - 5:20
5:25 - 5:55
Lloyd
Britten
Takemitsu
Schoenberg
4:30 - 5:00
5:05 - 5:45
5:50 - 6:20
6:25 - 7:00
Carter
6:00 - 6:30
TANGLEWOUD MUSIC CLNXEK
Fellowship Program
REHEARSAL SCHEDULE FOR
FESTIVAL OF CONTEMPORARY MUSIC
FCM III
FCM IV
Tues. 29th
Tue. 29th
Perle 1:00-2:30
MH 10
Thorne 1:00-2:30
Drattell 1:00-2:30
ChMusHall
Takemitsu 1:00-2:30
Andriessen 1:00-3:00
WestBarn
Abrahamsen 3:15-6:30
WestBarn
Stout 2:35-4:00
Wed. 30th evening
Perle 7:30-8:30
Hawthorne #1
Neikrug 4:05-6:00
Wed. 30th evening
Drattell 7:30-8:30
RehStage
Stout 7:30-8:30
Andriessen 7:30-8:30
EastBarn
Neikrug 8:30-9:30
Abrahamsen 8:45-10:30
EastBarn
Takemitsu 9:30-10:30
Thu. 31st
Thorne 9:30-10:30
Perle 3:45-4:30
MH 10
Feldman 3:45-4:45
Theatre
Thu. 31st
Andriessen 3:45-4:45
WestBarn
Thorne 3:45-4:45
Drattell 4:00-5:00
EastBarn
Tekemitsu 3:45-4:45
Abrahamsen 5:05-6:30
WestBarn
Neikrug 4:45-5:45
Fri. 1st
Abrahamsen 1:00-2:15
WestBarn
Stout 5:45-6:30
Fri. 1st
Perle 2:30-3:30
MH 10
Neikrug lt00-l':55
Drattell 2:30-3:30
RehStage
Takemitsu 2:00-2:45
Andriessen 2:30-3:30
WestBarn
Thome 2 : 00-2 : 40
Sunday 3rd Dress rehearsal - Theatre
Stout 2:50-3:30
Feldman 4:30 - 5:00
Perle 5:05 - 5:35
Abrahamsen 5:45 - 6:15
Drattell 6:25 - 6:55
Andr lessen 7:00 - 7:30
FIFTH WEEK
July 28 - Aug
RehStage
ShedSoloists
Room
RehStage
ChMusHall
WestBarn
WestBarn
ShedSoloists
Room
WestBarn
RehStage
ChMusHall
Theatre
Theatre
ChMusHall
ChMusHall
RehStage
'•RehStage
Fellowship Program
Chamber Music
SECTION A Wednesday and Thursday
1:30 - 3:30
FIFTH WEEK
July 28 -
Aug. 3
Mr. Levine West Barn
Schubert Octet
Vln-Lansdale
Vln-Kali
Via- Sanders FOR PERF. AUG. 13
Vlc-Parens
Bas-Peyrebrune
Cl-Prescott
Bsn-Paulson
Hrn-VerMeulen
Mr. Silverstein Hawthorne //I
Mendelssohn Octet
Vln-Qian
Vln-Bentley
Vln-Bichteler FOR PERF. AUG. 17
Vln-Kimura
Vla-Chick
Vla-Trinh
Vic- Swift
Vlc-Schaling
Mr. Gibson ChMusHall
Glanert Leviathan
Vla-Qureshi
Vlc-Sami
Bass-Butler FOR PERF. AUG. 17
Fl-Porter
Cl-Rusinek
Hrn-Danforth
Pno-Sasaki
Guitar-Gandolf i
Sop-Scarbrough
Tenor-Dixon >
Bari- Saylor
Mr. Kallsh ScenicShed
Crumb Madrigal.
AFl-Kuenzel
Per c- Jut sum FOR PERF.
SoP-LaBelle
Mr. MacCourt MH 11
Ravel Tombeau
Fl-Sparks
Ob-Zirbel
Cl-Carroll
Bsn-Gaarde
Hrn-Bowermaster
MR. Lehner Studio J
Bartok Quartet No. 4
Vln-Schast
Vln-Tsao
Via- Smith
Vlc-Sigurdson
Mr. Smith MH 10
Ligeti 10 Pieces
Fl-Bassett
Ob-Olson
Cl-Palmer
Bsn-McGovern
Hrn-Tomasiewicz
Mr. Voisin Studio F
Boehm Sextet Op. 30
Krn-DeRoche
Trp-Weber
Trp-Rood ^
Trp-Nance C FOR PERF. AUG. 10
Trb-McElroy — — —
Tba-Jarvis
Mr. Kirchner Hayden #1
Kirchner Piano Trio
Vln-Miller
Vlc-Linf ield
Pno-Tal
To rehearse this
week without coach
SECTION B Monday, Wednesday, Friday
8:45 - 9:45 a.m.
Mr. Kalish MH 7
Schoenberg Ode to Napoleon
Vln-Parkins
Vln^Goldstein
Vla-Smith FOR PERF. AUG. 17
Vlc-Parens
Pno-Nickrenz
Narr-Saylor
SECTION C Tuesday, Thursday, Saturday
8:45 - 9:45 a.m.
Mr. Levine MH 6
Schumann Piano Quartet
Vln-Rosin
Vla-Smith
Vlc-Baldursson FOR PERF. AUG. 24
Pno-Tal
Mr. Lehner MH 4
Brahms Horn Trio
Vln-Yaacobi
Hrn-Bowermaster FOR PERF. AUG. 13
Pno- Shapiro
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
FIFTH WEEK
July 28 - Aug
Cassatt Quartet
Mr. Knussen - Britten
Mr. Krasner - Britten
Mr. Lehner - Bartok
Monday at 10:00 MH 7
Tuesday at 10:00 MH 7
Wednesday at 10:00 Studio J
unless otherwise noted
Fellowship Program
Vocal Coaching
Mon. July 28
8:45 Saylor + ensemble (Schoenberg) MH 7
10 Beattie/McMillan Art
Grigg/Aronson Mus
Kampmeier/Rosenbaum Barn
High fill /Donovan (Bach) Fitch
11 Decima/Kramar 102
Highf ill/Ruff Fitch
Johnson/Peters 101
Beattie/Chauvin ARt
Grigg/Thompson Mus
Kampmeier/MouradJ ian Barn
1-3 Richardson + ens. (Wyner) West
3 Declma/Dlxon (Janacek) Fitch
Highf ill/Cordell (Brahms) Mus
Dewey/ Shayne Barn
Kampmeler , Donovan 102
4 Dewey/Okrasinski Barn
Tue . July 29
9-10:30 Richardson T ens. (Wyner) WBarn
1:30 Grlgg/Anmons (tba) 101
Highf ill/Richardson (Schubert) Art
Decima/Scarbrough (Debussy) 102
Beat tie /Swenson (Mahler) Barn
Kampmeler /Saylor (Wolf) Fitch
2:35-4 Cordell + ens. (Stout) RehSt
Wed. July 30
8:45 Saylor + ens. (Schoenberg) MH 7
1:30 Dewey/Cotten (Brahms) Art
Decima/ Swenson (Janacek) 101
Highf 111/Champagne (tba) Mus
Beattie/Abbott (Hahn) 102
Johnson/Franko Barn
Garrett/Bender (Shostak.) Fitch
1 :30-3:30 Gibson/Scarbrough, Dixon,
Saylor + ens. (Glanert) ChMus
LaBelle + ens. (Crumb) Scenic
4:45 Richardson + ens. (Wyner) WEstBrn
7:30 Cordell + en. (Stout) WestBrn
Thu. July 31
9:30 Helmrich/Emory Art
Garrett/Richardson (tba) Mus
Decima/Scarbrough (Debussy) Fitch
Johnson/Carlisle Barn
Dewey/Moser 102
Beattie/Bouknight 101
10:30-11:30 Helmrich/Aliapoulios . (R’ach)
ARt
Garrett/Dewey/Cotten (Brahms) Mus
Decima/Dixon (Janacek) Fitch
Highf ill/Cordell (Brahms) Barn
Kampmeler/ Saylor (Wolf) 102
Grigg/Nunes 101
11:30 Beattie/Murray Fitch
Johnson/Nomura Mus
Grigg/Medley Art
Kampmeier/LaBelle 102
FIFTH WEEK
July 28-Aug.3
Thu. July 31
1-3 Helmrich/Johnson/Emory , Nomura .Peters ,
Franko, Carlisle Fitch
— -Declma/Dewey/Kramar , Moser , Lut t er ,
Okras inski, Shayne Mus
Garrett/Beattie/Bouknight .Murray ,
McMillan, Chauvin 102
Highf ill/Grigg/Medley, Thompson, Nunes,
Ruff, Aronson Barn
01 iver /Kampme ier /LaBel le , Rosenbaum ,
Donovan, Mouradj ian Art
1:30-3:30 Gibson/Scarbrough, Dixon, Saylor,
+ ensemble (Glanert) ChMus
LaBelle ^ ens. (Crumb) Scenic
3:30 Highf ill/Mouradj ian (Bach) Barn
Grigg/Ammon8 (tba) Art
Beattie/Swenson (Mahler) 102
5:45-6:30 Cordell -fens. (Stout) Theatre
8:30 Richardson + ens. (Wyner) Wyner
Fri. Aug. 1
8:45 Saylor + ens. (Schoenberg) MH 7
10 Richardson/Garrett (tba) Mus
Highfill/Cotten (Bach) Art
Helmrich/Abbott (Britten) Fitch
11 Helmrich/Aliapoulios (Rach.)Fitch
Highfill/Champagne (tba) Art
12 Highf ill/Richardson (Schubert) Art
Garrett/Bender (Shost.) 106
Decima/Dixon (Janacek) Mus
Kampmeier/Labelle 102
Johnson/Peters 101
Dewey/Shayne Fitch
Grigg/Aronson Barn
1-1:40 Cordell + ens. (Stout) RehStg
3 Decima/Scarbrough (Debussy) Art
Highf ill/Ruff Mus
Helmrich/Emory Fitch
Johnson/Carlisle 102
Dewey/Okrasinski Barn
Grigg/Thompson 101
Kampmeier/Rosenbaum 106
4 Decima/Beattie/Abott (Hahn) Art
Johnson/Franko 102
Grigg/Medley Mus
Kampmeier/MouradJ ian 106
4:10-4:45 Richardson + ens. (Wyner dress)
Theatre
5 Decima/Kramar Art
Dewey/Moser Fitch
Beattie/McMillan Mus
Kampme ier /Donovan 106
Fellowship Program
Vocal Coaching
Sat . Aug . 2
10 Righf ill/Champagne (tba) 106
Helmrich/Beattie/Swenson (Mahler)
Art
11
12
1
A
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Garrett/Devey/Cotten (Brahms) Fitch
Highf ill/Cordell (Brahms) 106
Grigg/Ammons (tba) Mus
Helmrich /Abbott (Britten) Art
Garrett/Bender (Shost.) Fitch
Highf ill/Kampmeier/Sjaylor (Wolf)
Hayden 1
Johnson/Nomura Art
Devey/Lutter Mus
Beattie/Chauvin 106
Grigg/Nunes Fitch
Sun , Aug . 3
10 Beattie/Bouknight (or to arrange)
106
11 Beat tie /Murray (or to arrange) 106
FIFTH WEEK
July 28-Aug . 3
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
FIFTH WEEK
July 28-Aug. 3
SECTION C CONTINUED
Tuesday, Thursday, Saturday
8:45 - 9:45 a.m.
Mr. Kalish MH 7
Copland Sextet
Vln-Hagglund
Vln-Baumgartel
Vla-Qureshi FOR PERF. AUG. 13
Vic-Handy
Cl-Carroll
Pno-Archer
Mr. Wyner MH 5
Mendelssohn Piano Trio
Vln-Szlubowska
Vlc-Barley FOR PERF. AUG. 26
Pnl -Kenner
SECTION D Monday and Wednesday
8:45 - 9:45 a.m.
Mr. Krasner MH 10
Schoenberg Verklarte Nacht
Vln-Kim
Vln-Moreau
Vla-Rilling
FOR PERF. AUG. 24
Vla-Rcbinstein
Vlc-Diaz
Vic-Young
SECTION E
Tuesday 8:45 - 9:45 a.m.
Mr. Krasner
MH 8
Bartok Contrasts
Vln-Sone
Cl-Rusinek
FOR PERF. AUG. 24
Pno-Loeb
SECTION F Wednesday and Friday
8:45 - 9:45 a.m.
Mr. Krosnick MH 13
Shostakovich Quartet No. 7
Vln-Fernandez
Vln-Suh
Vla-Trinh FOR PERF. AUG. 10
Vlc-Stirling
Mr. Hobart MH 8
Dvorak Quintet Op, 87
Vln-Guan
Vln-Teshima
Vla-Suzuki
VI c-Sami
Bas- Johansson
SECTION G Thursday and Saturday
8:45 - 9:45 a.m.
Mr. Krosnick MH 10
Brahms Quintet
Vln-Miller
Vln-Parkins
Vla-Suzuki FOR PERF. AUG. 10
Vla-Leon
Vlc-Diaz
SECTION H Monday 8:45 - 9:45 a.m.
Mr. Levine MH 11
Mozart Clarinet Quintet
Vln-Tsao
Vln-Hagglund
Vla-Schaum FOR PERF. AUG. 24
Vlc-Sigurdson
Cl-Passin
SECTION I Thursday 1:30 - 3:30
Mr. Barker Theatre
Bass Class
Bass-Fabrizi
Bass-Johansson
Bass-Kawazoe
Bass-Matteson
Bass-Tyler
SECTION J Wednesday 8:45 - 9:45 a.m.
Mr. Fleisher MH 4
Beethoven Op. 70 No. 2
Vln-Kali
Vlc-G ruber FOR PERF. AUG. 24
Pno-Archer
COMING ATTRACTIONS
Bartok Sonata for Two Pianos and Percussion
Perc-Megna
Perc-Hall
Pno-Kenner
Pno-Sasaki
Beethoven Piano Trio Op. 121A
Vln-Haid
Vic-Handy
Pno-Nickrenz
Mozart Quintet K. 515
Vln-Wolf f
Vln-Wang
Vla-Ries
Vla-Richardson
Vlc-Linf ield
8:30 8:30 8:30 8:30
FCM Concert IV FCM Concert V FCM Concert VI FCM Concert VII
Theatre JSQ TMCO Concert E Silverstein/
Theatre Mr. Knussen Serkin
Theatre Theatre
TANGLEWOOD MUSIC CENTER
Fellowship Program SIXTH WEEK
Instrumental Aub. A- 10
Theatre J.S.Q. TMCO Concert E Silverstein/
Theatre Mr. Knussen Serkin
Theatre Theatre
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Fellowship Program SIXTH WEEK
Conducting Aug. 4-10
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Fellowship Program SIXTH WEEK
Vocal Aug. 4-10
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Fellowship Program SIXTH WEEK
Composition Aug. 4-10
(
TANGLEVJOOD MUSIC CENTER
Fellowship Program
Chamber Music
SIXTH WEEK
Aug. 4-10
SECTION A Wednesday and Friday
1:30 - 3:30
Mr. Kalish MH 7
Schoenberg Ode to Napoleon
Vln-Parkins
Vln-Goldstein
Vla-Smith FOR PERF. AUG. 17
Vlc-Parens
Pno-Nickrenz
Narr-Saylor
Mr. Lehner MH 8
Brahms Horn Trio
Vln-Yaacobi
Hrn-Bowermaster FOR PERF. AUG. 13
Pno-Shapiro
Mr. Levine MH 10
Mozart Clarinet Quintet
VlnOTsao
Vlc-Schast
Vla-Schaum
FOR PERF. AUG
Vlc-Sigurdon
Cl-Passin
Mr. Fleisher
MH 4
Beethoven Op.
70 No. 2
Vln-Kali
Vlc-Gruber FOR PERF. AUG. 24
Pno-Archer
Mr. Rosen MH 11
Mozart K. 515
Vln-Wolf f
Vln-Wang
Vla-Ries FOR PERF. AUG. 26
Vla-Richardson
Vlc-Linf ield
Mr. Krosnick MH 13
Beethoven Op. 18 No. 2
Vln-Sone
Vln-Qian
Vla-Qureshi FOR PERF. AUG. 13
Vlc-Schaling
Mr. Hobart Rehearsal Stage
Dvorak Op. 77
Vlj-Guan
Vln-Teshima
Vla-Suzuki FOR PERF. AUG. 26
Vlc-Sami
Bas- Johansson
Mrs. Pilot Scenic Shed
Saint Saens Caprice
Vln-Suh
Hrp-Axon
Mrs. Dwyer Video Room
Debussy Sonata
Vla-Sanders
Fl-Porter
Hrp-Harlow
Mr. Smith MH 15
Ligeti 10 Pieces
Fl-Bassett
Ob-Olson
Cl-Palmer
Bsn-Mc Govern
Hrn=Tomasiewicz
Mr. Wyner Hayden #1
Schubert Auf dem Strom
Hm-Schulze
Pno-Kampme ier
Sop-Rosenbaum
Mr. MacCourt Theatre
Mozart Opera Transcriptions
Ob-Rhoads
Ob-Stoyanovich
Cl-Rusinek
Cl-Prescott FOR PERF. AUG. 26
Bsn-Coricelli
Bsn-Beselin
Hrn-VerMeulen
Hrn-De Roche
SECTION B Wednesday and Friday
3:45 - 5:45
Mr. Kalish Scenic Shed
Crumb Madrigal
A Fl-Kuenzel
Per c- Jut sum FOR PERF. AUG. 10
So-La Belle
Mr. MacCourt MH 11
Ravel Tombeau
Fl-Sparks
Ob-Zirbel
Cl-Carroll FOR PERF. AUG. 10
Bsn-Gaarder
Hrn-Bowermaster
Mr. Silverstein Hawthorne //I
Mendelssohn Octet
Vln-Qian
Vln-Bentley
Vln= RLchteler FOR PERF. AUG. 17
Vln-Kimura
Vla-Richardson
Vla-Trinh
Vic-Swift
Vlc=Schaling
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
SIXTH WEEK
Aug. 4-10
MORE SECTION B Wednesday and Friday
3:45 - 5:45
Mr. Voisin Studio F
Boehm Sextet
Hm-De Roche
Trp-Weber
Trp-Rood
Trp-Nance FOR PERF. AUG. 13
Trb-Mc Elroy
Tba-Jarvis
Mr. Levine MH 6
Schumann Piano Quartet
Vln-Rosin
Via- Smith
Vlc-Baldursson FOR PERF. AUG. 24
Pno-Tal
Mr. Krosnick MH 10
Brahms Quintet
Vln-Miller
Vln-Parkins
Vla-Suzuki
Via- Leon FOR PERF. AUG. 1Q
Vlc-Diaz
Mr. Kalish Theatre
Bartok Sonata
Perc-Megna
Perc-Hall
Pno-Kenner FOR PERF. AUG. 26
Pno- Sasaki
Mr. Serkin MH 8
Beethoven Op. 121A
Vln-Haid
Vic-Handy FOR PERF. AUG. 24
Pnl-Nickrenz
MR. Lehner Studio J
Brahms Op. 51 No. 2
Vln-Forbes
Vln-Hagglund
Vla-Qureshi FOR PERF. AUG. 26
Vlc-Stirling
SECTION C Tuesday and Saturday
1:30 - 3:30
Mr. Kalish Hawthorne #1
Copland Sextet
Vln-Bichteler
Vln=Baumgartel
Vla-Qureshi
Vic-Handy FOR PERF. AUG. 13
Cl-Carroll
Pno- Archer
MORE SECTION C Tuesday and Saturday
1:30 - 3:30
Mr. Wyner Hayden #4
Mendelssohn Piano Trio
Vln-S)zlubowska
Vlc-Barley FOR PERF. AUG. 26
Pno-Kenner
Mr. KJT.Qnick Hayden #3
Shostakovich Quartet No. 7
Vln- Fernandez
Vln-Suh
Vla-Trinh FOR PERF. AUG. 10
Vlc-Stirling
Mr. Kirchner Hayden #2
Kirchner Piano Trio
Vln-Miller
Vlc-Linf ield FOR PERF. AUG. 17
Pno-Tal
SECTION D Monday 3:45 - 5:45
Saturday 4:00 - 6:00
Mr. Levine West Barn
Schubert Octet
Vln-Lansdale
Vln-Kali
Vla-Sanders FOR PERF. AUG. 17
Vlc-Parens
Bass-Peyrebrune
Cl-Prescott
Bsn-Paulson
Hrn-VerMeulen
Mr. Gibson Rehearsal Stage
Glanert Leviathan
Vla-Qureshi
Vlc-Sami
Bas-Butler FOR PERF. AUG. 17
Fl-Porter
Cl-Rusinek
Hrn-Danforth
Perc-Hall
Pno-Sasaki
Gtr-Gandolf i
Sop-Scarbrough
Ten-Dixon
Bari-Saylor
Mr. Lehner Studio J
Bartok No, 4
_Vln-Schast
Vln-Tsao
Vla-Smith
Vlc-Sigurdson
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
SIXTH WEEK
Aug. 4-10
SECTION E Friday 3:45 - 5:45
Saturday 4:00 - 6:00
Mr . Wyner MH 4
Bitzer Prelude & Fugue
Pno-Nickrenz
Pno- Shapiro FOR PERF. AUG. 13
SECTION F Saturday 1:30 - 3:30
Mr. Barker ChMusHali
Bass Class
Bass-Butler
Bass-Fabrizi
Bass- Johansson
Bass-Kawazoe
Bass-Matteson
Bass-Peyrebrune
Bass-Tyler
DRESS REHEARSALL
FCM PROGRAM IV
Monday - Theatre
12:45-1:25
Neikrug
1:30-2:00
Takemitsu
2:10-2:55
Thorne
3:00-3:30
Stout
COMING ATTRACTIONS
Dvorak Bagatelles
Vln -Tsuchida
Vln- Bentley FOR PERF. AUG. 24
Vlc-Parens
Pno-Loeb
CASSATT QUARTET
Wednesday 10:00 - 12:00 Bartok with Mr. Lehner
Saturday 10:00 - 12:00 Mozart with Mr. Levine
Studio J
MH 10
TANGLEWOOD MUSIC CENTER
Fellowship Program
Vocal Coaching
SIXTH WEEK
Aug. A- 10
Monday August A
10:30 Beattie/Swenson (Mahler) ArtRm
Decima/Scarbrough (Debussy) MusRm
Highf ill/Richardson (Schubert) Fitch
11:30 Decima/Dixon (Janacek) MusRm
Helmrich/Aliapoulios (Rachn.) Barn
Kampmeier/ Saylor (Wolf)l 102
Highf ill /Champagne (Rachm.) Fitch
Dewey/Cotten (Brahms) 101
Beattie/Abbott (Hahn) Art
3 Cordell _ ens. (Stout Dress) Theatre
3:30 Kampmeier/Mouradjian ArtRm
Helmrich/ Johnson/ Abbott (tba) Mus
Johnson/Peters Fitch
Grigg/Thompson 102
3:A5-5:A5 LaBelle + Ens. (Crumb) ScenicShd
Sixon/Saylor, Scarbrough + ensemble
(Glanert) RehSt
A: 30 Kampmeier /Donovan Art
Helmrich /Emory Mus
Decima/Kramar 106
Highf ill/Ruff 102
Johnson/Nomura Fitch
Dewey/Okrasinski Barn
Beattie/McMillan 101
5:30 Kampmeier /Rosenbaum Art
Johnson/Franko Fitch
Tuesday, August 5
9:30 Kampmeier /LaBelle Fitch
10 Dewey/ Shayne Art
Beattie/Murray Mus
Grieg/Aronson 102
10 : 30- 12:30 Oliver /Kampmeier .LaBelle ,
Rosenbaum, Donovan, Mouradj ian Fitch
11 Dewey/Moser Art
Beattie/Chauvin Mus
Grigg/Nunes 102
12 Dewey/Lutter Art
Beattie/Bouknight Mus
Grigg/Medley 102
1:30 Johnson/Carlisle Art
2 Garrett/Richardson Fitch
Highf ill /Cordell 106
Decima/ Swenson , McMil lan , Murray , Shayne
(Janacek) Art
3-5 Highf ill/Gr igg/Aronson, Ruff .Nunes,
Thompson, Medley 106
Garrett /Beattie/Chauvin, McMil lan,
Murray .Bouknight Fitch
Decima/Dewey/ Shayne .Okrasinski ,Lutter ,
Moser, Kramar Art
Helmrich/ Johnson/ Carl isle, Franko,
Peters, Nomura, Emory Mus
A-6 Gibson/Kampmeier/Dixon, Saylor/
Scarbrough (Glanert) Mus
5 Garrett/Bender (Shost) Fitch
Wednesday August 6
11 Swenson/Beattie (Mahler) Art
Highf ill/Richardson (Schubert) 102
Decima/Scarbrough (Debussy) Mus
Kampmeier/Saylor (Wolf) Barn
Garrett/Grigg/Ammons (American) Fitch
Johnson/Abbott (tba) 101
12 Decima/Dixon (Janacek) Mus
Garrett/Bender (Shostak.) Fitch
Highf ill/Champagne (Rachm.) 102
I Decima/Beattie/Abbott (Hahn) Mus
1:30-3:30 Saylor _ ensemble (Schoen.) MH7
Kampmeier/Rosenbaum + ensemble
(Schubert) Hayden2
1:30 Helmrich/Aliapoulios (Rachm) Fitch
Highf ill/Cordell (Brahms) Art
2 Dewey/Cotten (Brahms) Fitch
A Garrett/Richardson (tba) Mus
Friday August 8
10-11 Johnson/Franko Fitch
Dewey/Moser Art
Beattie/McMillan Mus
Grigg/Thompson 106
II Johnson/Carlisle Fitch
DFwey/Okrasinski Art
Beattie/Murray Mus
Grigg/Aronson 106
12 Johnson/Peters Fitch
Dewey/ Shayne Art
12:30 Highf ill/Ruff Mus
Helmrich /Emory 106
1:30-3:30 Bender, Champagne, Franko,
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Saylor + ensemble (Schoen.) MH 7
Kampmeier/Rosenbaum + ens. (Schubert)
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106
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2:30 Helmrich/Aliapoulios (Rachm) 106
Decima/Dixon (Janacek) Art
Highf ill/Cordell (Brahms) Mus
Garrett/Dewey/Cotten (Brahms) Fitch
Grigg/Medley 102
3:30 Decima/Scarbrough (Debussy) Art
Beattie/Bouknight Mus
A Kampmeier/Rosenbaum 106
5 Kampmeier/LaBelle 106
■■3 '
TANGLEWOOD MUSIC CENTER
Fellowship Program
Vocal Coaching
SIXTH WEEK
Aug. 4-10
Saturday August 9
11 Highf ill/Kampmeier /Saylor (Wolf) 106
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Fellowship Program SEVENTH WEEK
Instrumental Aug. 11-17
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HS Music Room I Theatre
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Fellowship Program SEVENTH WEEK
Conducting Aug. 11-17
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Fell ov/sh i p Program SEVENTH WEEK
Composition Aug. 11-17
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
SEVENTH WEEK
Aug. 11-17
SECTION A Thursday and Friday
1:30 - 3:30
Mr. Levine MH 10
Mozart Clarinet Quintet
VI n-Tsao
VI n-Schast
Vla-Schaum FOR PERF. AUG. 24
Vlc-Sigurdson
Cl -Passin
Mr. Hobart Hawthorne #1
Dvorak Quintet Op. 77
VI n-Guan
Vln-Teshima
V la-Suzuki FOR PERF. AUG. 26
Vlc-Sami
Bas-Johansson
Mr. Lehner Studio J
Brahms Op. 51 No. 1
VI n~ Forbes
VI n-Hacqlund FOR PERF. AUG. 24
VI a-Oureshi
Vlc-Stirl ing
Mr. Wyner MH 6
Mendelssohn Piano Trio
V 1 n-Dzlubows k a
VI c-Barley
Pno-Kenner FOR PERF. AUG. 26
Mrs. Dwyer MH 0
Roussel Trio
Vla-Rill inq
Vic-Young
FI -Kuenzel
Mrs. Pilot Video Room
Saint Saens Caorice
Vln-Suh
Hrp-Axon
Mr. Krasner MH 4
Bartok Contrasts
VI n-Sone
Cl -Rusinek FOR PERF. AGU. 24
Pno-Loeb
Mr. Fleisher MH 5 (will meet without
Beethoven Op. 70 No. 2 coach)
VI n-kai’i
VI c-Gruber FOR PERF. AUG. 24
Pno-Archer
Mr. Epstein RehStage
Lebaron Rite of the Black Swan
Per c -Adams
Perc-Hal 1
Perc-Jutsum
Perc-Stirl ing
Mr. Hadcock MH 15
Schuller Quintet
FI -Bassett
0b-01 son
Cl -Palmer
Bsn-McGovern
Hrn-Tomasiewicz
Mr. Smith MH 13
Harbison Quintet
FI -Porter
Ob-Zirbel
Cl -Carrol 1
Bsn-Coricell i
Hrn-Danforth
Mr. Feldman West Barn
Vores Unnamed
Bas-Kawazoe
Bas-Tyler
Fl/picc/AFl -DeVoe
FI /picc/AFl -Sparks
Ob-Stoyanovich
Ob-Rhoads FOR PERF. AUG. 24
Bsn-Gaqrrier
Bsn-Paul son
Hrn-Schulze
Hrn=Bowermaster
Trp-DiLorenzo
Trp-Kunkee
Trp-Weber
Trb-Zion
Trb-Carrera
Perc-Megna
Perc-Patterson
Mr. Kalish MH 7
Schoenberg Ode to Napoleon
VI n-Parkins
Vln-Goldstein
VI a -Smith FOR PERF. AUG. 17
Vlc-Parens
Pno-Nickrenz
Narr-Saylor
TANGLE WOOD MUSIC CENTER
Fellowship Program
Chamber Music
SECTION B CONTINUED Monday and Tuesday
1:30 - 3:30
Mr. Lehner MH 8
Brahms Horn Trio
VI n-Yaacobi
Hrn-Bowermaster FOR PERF. AUG. 13
Pno-Shapiro
Mr. Rosin MH 11
Mozart K. 515
VI n- Wolff
VI n-Wang
Vla-Ries FOR PERF. AUG. 26
Vla-Richardson
Vlc-Linf ield
Mr. Krosnick MH 13
Beethoven Op. 18 No. 2
Vln-Sone
Vln-Qian
Vla-Qureshi FOR PERF. AUG. 13
Vlc-Schal ing
Mr. Voisin ChMusliall
Boehm Sextet
Hrn-DeRoche
Trp- Weber
Trp- Rood
Trp- Nance FOR PERF. AUG. 13
Trb-McEl roy
Tb a- Jarvis
Mr. Krasner MH 4
Brahms Clarinet Quintet
VI n-Suh
Vln-Hagglund
Vla-Leon
Vlc-Gruber
Cl -Prescott
Mr. Silverstein Hawthorne #1
Mozart K. 575
VI n-Baumgartel
VI n-Fernandez
Vla-Sanders
Vic-Handy
Mr. Kalish/Mr. Epstein RehStage
Bartok Sonata
"Perc-Megna
Perc-Hal 1
Pno-Kenrier FOR PERF. AUG. 2C
P.io-Sasaki
SECTION C Monday and ’Wednesday
3:45 - 5:45
Mr. Wyner MH 4
Titzer Prelude and Fugue
Pno-Nickrenz
Pno-Shapiro FOR PERF. AUG. 13
SEVENTH WEEK
Aug. 11-17
MORE SECTION C Monday and Wednesday
3:45 - 5:45
Mr. MacCourt ChMusHall
Beethoven Octet Op. 103
Ob-Rhoads
Ob-Stoyanovich
Cl-Rusinek
Cl -Prescott
Bsn-Coricelli
Bsn-Besel in
Hrn-VerMeulen
Hrn-DeRoche
Mr. Levine MH 6
Schumann Piano Quartet
Vln-Rosin
VI a -Smith
Vlc-Baldursson FOR PERF. AUG. 26
Pno-Tal
Mr. Kalish MH 7
Copland Sextet
Vln-Pichteler
VI n-Baumgartel
Vla-Qureshi FOR PERF. AUG. 13
Vic-Handy
Cl -Carroll
Pno-Archer
Mr. Lehner MH 8
Dvorak Bagatelles
Vlri-Tsuchida
Vln-Bentley
Vlc-Parens FOR PERF. AG. 24
Pnl-Loeb
Mr. Serkin West Barn
Strauss Serenade Op. 7
Fl-DeVoe
FI -Sparks
Ob-Zirbel
Ob-Olson
Cl -Palmer
Cl-Passin FOR PERF. AUG. 26
Bsn-Gaarder
Bsn-Paulson
Bsn-McGovern
Hrn-Danforth
Hrn-Schulze
Hrn-Bowermaster
Hrn-Tomasiewicz
CASSATT QUARTET
Monday 10:00 - 12:00 Mr. Levine
MH 10 Mozart
Tuesday 10:00 - 12:00 Mr. Lehner
Studio J w Bartok
Thursday 10:00 - 12:00 Mr. Krasner
MH 4 Beethoven
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
SECTION D Tuesday and Thursday
3:45 - 5:45
Mr. Serkin MH 8
Beethoven Op. 121A
VI n-Haid
Vic-Handy FOR PERF. AUG. 24
Pno-Nickrenz
Mr. Kirchner MH 6
Kirchner Piano Trio
VI n-Miller
Vlc-Linfield FOR PERF. AUG. 17
Prio-Tal
Mr. Levine ChMusHall
Schubert Octet
VI n-Lansdale
Vln-Kal i
VI a-Sanders
Vlc-Parens FOR PERF. AUG. 17
Bas-Peyrebrune
Cl -Prescott
Bsn-Paulson
Hrn-VerMeulen
Mr. Gibson Theatre
Glanert Leviathan
Vla-Oureshi
Vic- Sami
Bas-Butler FOR PERF. AUG. 17
FI -Porter
Cl -Rusinek
!!rn-Danforth
Perc-Hal 1
f no~SasaKi
Gtr-Gandolfi
Sop-Scarbrough
Ten-Dixon
Bari -Saylor
Mr. liyner Rehearsal Stage
Kunieda Elevation II
Dass-Johansson
Fl-Kuenzel
Cl-Passin FOR PERF. AUG. 17
Perc-Adams
Perc-Jutsum
Mr. Krasner MH 4
Schoenberg Verklarte Nacht
VI n-l<ini
VI n -Moreau
VI a -Rilling FOR PERF. AUG. 24
VI a- Rubinstein
Vlc-Diaz
VI c- Young
SEVENTH WEEK
Aug. 11-17
SECTION E Saturday 4:00 - 6:00
Mr. Fleisher ChMusHall
Stravinsky In Memoriam Dylan Thomas
VI n-Moreau
Vln-Fernandez
Vla-Leon FOR PERF. AUG. 24
Vlc-Baldursson
Trb-Carrera
Trv-McEl roy
Trb-Zion
Trb-Van Schaik
Tenor-Cotton
Conductor TBA RehStage
Pa ram- Vi r Unnamed
VI n-Schast
VI n-Wang
Vla-Suzuki
Vic -Bar ley FOR PERF. AUG. 24
Bas-Matteson
FI -Sparks
Fl-DeVoe
Ob-Zirbel
0b-01 son
Cl -Carrol 1
Bsn-Besel in
Hrn-Tomasiewicz
Trp-Rood
Trp-Nance
Trb-McElroy (will not report)
Perc-Patterson
Perc-Adams
Hrp-Axon
SECTION F Tuesday 3:45 - 5:45
Saturday 4:00 - 6:00
Mr. Silverstein Hawthorne #1
Mendelssohn Octet
VI n-Qian
Vln-Bentley
Vln=Bichteler
Vln-Kimura FOR PERF. AUG. 17
Vla-Richardson
Vla-Trinh
Vic-Swift
Vlc-Schaling
Mr. Brayton West Barn
Brayton Sextet
Bas-Peyrebrune . ,
FI -Bassett
Perc-Stirl ing
Hrp -Harlow FOR PERF. AUG. 23
Pno-KEnner
Banjo-Buonocare
TANGLEWOOD MUSIC CENTER
Fellowship Program SEVENTH WEEK
Vocal Coaching Aug. 11-17
Monday August 11
10 Helmrich/ Johnson/Abbott (tba) 106
11 Kampmeier/Saylor (Schubert) Fitch
Helmrich/Cotten (tba) 106
Grigg/Ammons (Ives) Art
12 Highfil 1/Champagne (Rachn.) Fitch
1 Decima/Dixon (Janacek) 106
Helmrich/Al iapoul ios (Rachm.) Mus
Highfil 1/Cordel 1 (Brahms) Fitch
2 Helmrich/Beattie/Swenson (Mahler)Mus
Decima/Scarbrough (Debussy) 106
Highfil! /Ruff Fitch
Grigg/Thompson 102
Dewey/Shayne Art
Kampmeier/Donovan Barn
3 Decima/Kramar 106
Grigg/Nunes 102
Beattie/Chauvin Mus
Johsson/Carl isle Fitch
Dewey/ L utter Art
4:30-6 Gibson/Kampmeier/Dixon , Saylor,
Scarbrough (Glanert) Mus
4 Grigg/Medley 102
Dewey/Moser ARt
Johnson/Nomura Fitch
Tuesday August 12
10 Helmricb/Emory 106
Beattie/Murray 102
Johnson/Franko Art
Dewey/ Ok ra s i ns k i Mus
Kampmeier/Rosenbaum Fitch
12i30 Kampmeier/LaBelle Fitfh
Beattie/McMillan 106
Johnson/Peters Art
1,30 Garrett/Richardson (Obradors) 106
1 :30-3:30-t-- Saylor,Medley (Verdi )Seranak'
(conducting class)
2:30 Garrett/Bender (Shostak.) 105
3:30 Garrett/Cordel 1 (tba) 106
3 :45-5 :45 Dixon ,Sa.yl or , Scarbrough
(glanert) Theatre
I Grigg/Aronscn Art
Kampmeier/Mouradjian 102
Beattie/Bouknight Mus
Wednesday August 13
10 Helmrich/Al iapul ios (Rachm.) Fitch
II Beattie/Swenson (Mahler) Mus
Highfil! /Champagne 106
Helmrich/Cotten (tba) Fitch
Johnson/Abbott (tba) Art
Grigg/Ammons (Ives) 102
2 Decima/Scarbrough (Debussy) Art
Highfil 1/Cordell (Brahms) 106
!elmrich/Al iapoul ios (Rabhn.) Fitch
Garrett/Bender (Shostak.) 106
Decima/Dixon (Janacek ( Art
Wednesday August 13 continued
2-4 01 iver/Kampmeier/LaBel le, Rosenbaum
Donovan, Mouradji an Mus
— Highfil 1 /Grigg/Medley, Thompson , Nunes,
Ruff, Aronson Fitch
Garrett/Beat tie/Bouknight , Murray,
McMillan,Chauvin 106
— Dec i ma / Dewey/ Krama r , Mos e r,Lutter,Shayne,
Okras inski Art
— Helmrich/Johnson/Emory,f'.!omura , Peters ,
Franko, Carlisle Barn
4 Highfil 1/Kampme ier/Saylor (Schubert)
Fitch
Thursday August 14
10 Dewey /Moser
102
Beattie/Chauvin
Fitch
Grigg/Thompson
Art
Kampmeier/Donovan
106
Garrett/Rosenbaum
Mus
12:30 Kampmeier/Rosenbaum
Art
Grigg/Aronson
102
Beattie/Murray
Fitch
Dewey/ L utter
106
1:30-3:30 Saylor + ensemble (Schoenberg)
MH 7
— Bender , Champagne, Franko, Moser, Nomura
Nunes (Mozart-cond. class) Seranak
2 Garrett/Richardson (Obradors) Art
Helmrich/Al iapoul ios (Rachn.) 106
Highfil 1/Cordell (Brahms) Mus
2-4 Kramar, Rosenbaum, Thompson, McMillan
(Piano seminar) Fitch
3 Garrett/Cordel 1 (tba) Art
Helmrich/Cotten (tba) 106
Highfil 1/Ruff Mus
;3:45-5:45 Dixon, Saylor, Scarbrough (Glanert)
Theatre
4 Beattie/Swenson (Mahler)
Art
Decima/Kramar
Fitch
Johnson/Franko
106
Friday August 15
12 Highfil 1 /Champagne (Rachm.)
Mus
Garrett/Bender (Shostak.)
Art
Dedma/Scarbrough (Debussy)
106
Helmrich/ Emory
Fitch
Johnson/Carl isle
Barn
1:30-3:30 Saylor + ens. (Schoenb.) MH 7
3:45 Garrett/Grigg/Ammons (Ives) 106
Decima/Highfil 1/Dixon, Swenson, McMillan
■ Murray. Shayne (Janacek) Fitch
iJohnson/Abbott (Tba) 102
Kampmeier/Mouradjian Art
Beattie/Bouknight Mus
•
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TANGLEWOOD MUSIC CENTER
Fellowship Program
Vocal Coaching
Friday, August 15, continued
4:45 Garrett/Richardsbn (Obradors) 106
Grigg/Nunes Art
Johnson/Peters 102
Dewey/ Okras inski Mus
Saturday, August 16
10 John son/ Nomura 106
Kampmeier/LaBel le 102
Grigg/Medley Art
Beatt i e/McMi 11 an Mus
Dewey/ Shay ne Fitch
11 Kampmeier/Saylor (Schubert) 102
4-6 ' ' Cotten + ensemble (Stravinsky)
ChMusHall
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Aug. 11-17
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Fellowship Program EIGHTH WEEK
Conducting Aug. 18-24
TANGLEWOOD MUSIC CENTER
Fellowship Program EIGHTH WEEK
Vocal Aug. 18-24
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TMCO Concert G
Mr. Rozhdestvensky
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TANGLEWOOD MUSIC CENTER
Fellowship Program EIGHTH WEEK
Composition Aug. 18-24
TANGLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
EIGHTH WEEK
Aug. 18<-24
SECTION A Wednesday and Friday
1:30 - 3:30
Mr. Hobart MH 11
Dvorak Op. 77
Vln-Guan
Vln-Teshima
Vla-Suzuki FOR PERF. AUG. 26
Vlc-Sami
Bas-Johanssen
Mr. Wyner MH 6
Mendelssohn Piano Trio
Vln-Szlubowska
Vlc-Barley FOR PERF. AUG. 26
Pnl-Kenner
Mr. Fleisher MH 4
Beethoven Op. 70 No. 2
Vln-Kali
Vlc-Gruber FOR PERF. AUG. 24 AM
Pno-Archer
Mr. Feldman Theatre
Vores
Bas-Kawazoe
Bas-Tyler
Fl/picc/AFl-DeVoe
Fl/picc/AFl-Sparks FOR PERF. AUG.
Ob-Stoyanovich 24 AM
Ob -Rhoads
Bsn~Gaarder
Bsn-Coricelli
Hrn-Schulze
Hrn-Bowermast.er
Trp-DiLorenzo
Trp-Kunkee
Trp-Weber
Trb-Zion
Trb-Carrera
Perc-Megna
Perc-Patterson
Mr. Rosen MH 10
Mozart K. 515
VI n- Wolff
Vln-Wang
Vla-Ries FOR PERF. AUG. 26
Vla-Richardson
Vlc-Linf ield
Mr. Lehner MH 8
Dvorak Bagatelles
Vln-Tsuchida
Vln-Bentley FOR PERF. AUG. 24 AM
Vlc-Parens
Pno-Loeb
Mr. Krasner MH 7
Schoenberg Verklarte Nacht
Vln-Kim
Vln-Moreau
Vla-Rilling FOR PERF. AUG. 24 PM
Vla-Rubinstein
Vlc-Diaz
Vic-Young
Mrs. Pilot Scenic Shed
Saint Saens Caprice
Vln-Suh
Hrp-Axon FOR PERF. AUG. 26
Mrs. Dwyer Video Room
Debussy Sonata
Vla-Sanders
Fl-Porter FOR PERF. AUG. 24 PM
Hrp-Harlow
Mr. Schlueter Studio F
Ramsoe Quartet No. 5
Hrn-Danforth
Trp-Nance
Trp-Rood
Trb-McElroy
Mr. Silver stein Hawthorne //I
Beethoven Septet
Vln-Parkins
Vla-Trinh
Vic-Handy
Bas-Pevrebrune
Cl-Palmer
Bsn-McGovern
Hrn-Tomaseiwicz
Mr. Smith MH 15
Mozart Flute Quartet K. 285
Vln-Qian
Vla-Schaum
Vlc-Schaling
Fl-Kuenzel
SECTION B Monday 1:30 - 3:30
Friday 3:45 - 5:45
Mr. Levine MH 10
Mozart Clarinet Quintet
Vln-Tsao
Vln-Schast
Vla-Schaum FOR PERF, AUG. 24 PM
Vlc-Sigurdson
Cl-Passin
.
.
TANCLEWOOD MUSIC CENTER
Fellowship Program
Chamber Music
EIGHTH WEEK
Aug. 18-24
SECTION B CONTINUED
Monday 1:30 - 3:30
Friday 3:45 - 5:45
Mr. Serkin Mil 8
Beethoven Op. 121A
Vln-Haid
Vic-Handy
Pno-Nickrenz FOR PERF. AUG. 24 PM
Mr. Fleisher ChMusHall
Stravinsky Dylan Thomas
Vln-Moreau
Vln-Fernandez
Vla-Leon
Vlc-Baldursson
Trb-Carrera FOR PERF. AUG. 24 PM
Trb-McElroy
Trb-Zion
Trb-VanSchaik
Ten-Cotten
Mr. Knussen RehStage
Brayton Sextet
Bas-Tyler
Fl-Bassett
Perc-Stirling FOR PERF. AUG. 23
Hrp-Harlow
Pno-Shapiro
Banjo-Buonocore
Mr. MacCourt WestBarn
Mozart Opera Transcriptions
Ob-Rhoads
Ob-Stoyanovich
Cl-Rusinek
Cl-Prescott
Bsn-Coricelli. FOR PERF. AUG. 26
Bsn-Beselin at 6:00
H r n- Ve rMeu 1 en
Hrn-DeRoche
SECTION C Tuesday 1:30 - 3:30
Saturday 4:00 - 6:00
Mr. Levine MH 6
Schumann Piano Quartet
Vln-Rosin
Vla-Smith FOR PERF. AUG. 26
Vlc-Baldursson
Pno-Tal
Mr. Krasner MH 7
Brahms Clarinet Quintet
Vln-Suh
Vln-Lansdale
Vla-Leon
Vlc-Gruber
Cl-Prescott
Mr. Kalish MH 4
Debussy En Blanc et Noir
Pno-Shapiro
Pno-Archer
SECTION D Thursday and Saturday
1:30 - 3:30
Mr. Krasner Hayden //I
Bartok Contrasts
Vln-Sone
Cl-Rusinek FOR PERF. AUG. 24 AM
Pno-Loeb
Mr. Serkin West Barn
Strauss Serenade Op. 7
Fl-DeVoe
Fl-Sparks
Ob-Zirbel FOR PERF. AUG. 26
Ob-Olson at 6:00
Cl-Palmer
Cl-Passin
Bsn-Gaarder
Bsn-Paulson
Bsn-McGovern
Hrn-Danf orth
Hrn-Schulze
Hrn-Bowermaster
Hrn-Tomasiewicz
Mr. Barker ChMusHall Thur; RehStage Sat
Eass audition class
Bass-Butler
Bass-Fabrizi
Bass- Johansson
Bass-Kawazoe
Bass-Matteson
Bass-Peyrebrune
Bass-Tyler
Mr. HadcockHayden # 2
Berger Quartet
Fi-Porter
Ob-Stoyanovich
Cl-Carroll
Bsn-Coricelli
Mr. Lehner Hayden #3
Bartok Quartet NO. 2
Vln-Bichteler
Vln-Miller
Vla-Trinh
Vlc-Barley
Mr. Rosen Hayden #4
Beethoven Op. 59 No. 3
Vln-Kimura
Vln-Goldstein
Vla-Chick
Vic-Swift
H.
TANGLEWOOD MUSICCENTER
Fellowship Program
Chamber Music
EIGHTH WEEK
Aug. 18-24
SECTION E Wednesday and Thursday
3:45 - 5:45
Mr. Lehner Studio J
Brahms Op. 51 No. 1
Vln-Forbes
Vln-Baumgartel FOR PERF. AUG. 26
Vla-Qureshi
Vlc-Stirling
Mr. Kalish Theatre WEd.; RehStage Thur.
Bartok Sonata
Perc-Megna
Ferc-Hall
Pno-Kenner FOR PERF. AUG. 26
Pno-Sasaki
Mr. Meier West Barn
Param-Vir Music for Two Chamber Orchestras
Vln-Schast
V In- Wang
Vla-Suzuki FOR PERF. AUG. 24 PM
Vlc-Barley
Bas-Matteson
Fl-Sparks
Fl-DeVoe
Ob-Zirbel'
Ob-Olson
Cl-Carroll
Bsn-Beselin
Hrn-Tomas iewicz
Trp-Rood
Trp-Nance
Trb-McElroy
Perc-Patterson
PErc-Adams
Hrp-Axon
CASSATT QUARTET
Monday 10:00 - 12:00
Tuesday 10:00 - 12:00
Wednesday 10:00 -12:00
Mr. Levine MH 10
Mr. Lehner Studio J
Mr. Krasner MH 10
(
tanglewood music center
fellowship program eighth week
vocal coaching aug. 18-24
Monday August 18
Wednesday August 20 continued
10 Garrett/Richardson (Obradors)
Art
2-4 Highf ill /Grigg/Medley, Thompson, Nunes,
Highf ill/Champagne (Rachm.)
106
Ruff, Aronson
Art
11 Garret t/Grigg/Ammons (Ives)
Art
Garrett /Beat tie/Bouknight , Murray,
Highf ill/Cordell (Brahms)
106
McMillan , Chauvin
Mus
Decima/Scarbrough (Debussy)
Mus
Helmr ich/ Johnson/Emory , Nomura, Peters,
Helmrich/Cotten (Persichetti)
Fitch
Franko, Carlisle
Fitch
12 Highf ill/Kampmeier/Saylor (Schub.) 106
Dec ima/Dewey /Kramar , Moser , Lu t ter ,
Decima/Dixon (Janacek)
Mus
Okrasinski, Shayne
102
a* Helmrich/Aliapoulios (Rep)
Fitch
t
1 Helmrich/Johnson/Abbott (Italian)Fitch
Thursday August 21
1:30 Oliver/Beattie/Cordell
106
10 Grigg/Aronson
102
Dewey/ Shayne
Art
11 Johnson/Nomura
Art
1:30-3:30 Cotten + ens. (Strav.)
ChMusH
Dewey/ Shayne
Fitch
2 Highf ill/Ruff
102
Beat tie/McMil lan
106
Johnson/Nomura
Mus
Grigg /Nunes
102
Kamp me ier /Donovan
Fitch
12 Johnson/Franko
Art
Grigg /Nunes
Barn
Dewey/Moser
Fitch
2:30 Oliver /Dewey /Dixon
106
Beat tie/Bouknight
106
Beattie/McMillan
Art
Grigg/Thompson
102
1 Decima/Kramar
106
Tuesday August 19
Johnson/Carlisle
102
10 Johnson/Franko
Fitch
1 :30 Highf ill/Cordell (Brahms)
Art
Dewey /Moser
Art
2 Grigg/Ammons (Ives)
Barn
Grigg/Thotapson
106
Decima/Rosenbaum
106
Kampmeier/Mourad j ian
Mus
Beattie/ Chauven
Fitch
11 Johnson/Carlisle
Fitch
Dewey/ Okrasinski
Mus
Dewey/Lutter
Art
Kampme ier /Donovan
102
Grigg/Aronson
106
Kamp me ier /Rosenbaum
Mus
Friday August 22
12 Dewey /Okras inski
Art
10 Highf ill/Ruff
Fitch
Grigg/Medley
106
11:30 Garrett/Richardson (Obradors) 106
2 Beattie/'Bouknight
Art
11 Highf ill /Champagne (Rachm.)
Fitch
Dec ima /Rosenbaum
Fitch
4 Garrett/Bender (rep)
106
3 Decima/Dixon, Swenson, McMillan, Murray ,
Kampmeier/Mourad j ian
102
Shayne (Janacek)
106
Johnson/Peters
Barn
3:30 Kampmeier/LaBelle
Art
Dewey/Lutter
Fitch
Beattie/Chauvin
102
Beattie/Murray
Mus
4 Decima/Kramar
106
Grig/Medley
Art
4:30 Johnson/Peters
Art
3 Kampmeier/LaBelle
102
BEa 1 1 ie /Murray
102
Saturday August 23
Wednesday August 20
12 Garrett/Grigg/Ammons (Ives)
106
10 Helmrich/Beattie/ Swenson (Haydn) 106
Helmrich/Johnson/Abbott (Ital
.) Fitch
Garrett/Cordell (rep)
Fitch
4:30 Kampmeier/Rosenbaum
106
11 Kampmeier/ Saylor (Schubert)
Art
Decima/Scarbrough (Debussy)
Mus
Highf ill/Champagne (Rachm.)
102 5
k* Monday August 18
Garrett/Richardsons (Obradors)
Fitch
12-1 Beattie/Swenson (Haydn)
102
Helmrich/Aliapoulios (rep)
106
12 Garrett/Bender (rep)
Fitch
Highf ill/Cordell (Brahms)
102
Johnson/Abbctt (Ital.)
Art
Helmrich/Cotten (Persichetti)
106
Decima/Dixon (rep)
Mus
1-4 Oliver/Kampmeier/LaBelle .Rosenbaum,
Donovan, Mourad j ian 106
TANGLEWOOD MUSIC CENTER
Fellowship Program NINTH WEEK
Instrumental Aug. 25, 1986
June 30, 1987
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Fellowship Program NINE Til WEEK
Conducting Aug. 25-26
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TANGLEWOOD MUSIC CENTER
Fellowship Program NINTH WEEK
Vocal Aug. 25-26
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TANGLEWOOD MUSIC CENTER
Fellowship Program NINTH WEEK
Composition Aug. 25-26
I
TANGLEWOOD MUSIC CENTER
Fellowship Program
NINTH WEEK
Agu. 25-26
Monday
Mr. Daval Shed Stage 1:00 - 2:00
Strauss Feierlicher Einzug
All horns, trumpets, trombones, tuba
Timp-Adams
0 r g an-Kennef- FOR PERF. AUG. 26
Mr. Voisin Rehearsal Stage 2:00 - 3:00
Copland Fanfare for the Common Man
All horns, trumpets, trombones, tuba
Timp-Patterson
Perc-Hall
Perc-Jutsum FOR PERF. AUG. 26
Mr. Barron Rehearsal Stage 3:00 - 4:00
Williams Fanfares, Jacob Fanfare
All Horns, trumpets, trombones, tuba, percussion FOR PERF. AUG. 26
Personnel for the following groups as previously assigned:
Theatre
1:00 -
1:45
Brahms Op. 51, No. 1
Mr.
Lehner
1:50 -
2:20
Saint Saens Caprice
Mrs
. Pilot
2:25 -
3:10
Mendelssohn Piano Trio
Mr .
Wyne r
3:15 -
3:55
Dvorak Quintet *
Mr.
Hobart
4:00 -
4:40
Mozart K. 515
Mr.
Rosen
4:45 -
5:30
Strauss Serenade
Mr.
Serkin
5:40 -
6:30
Bartok Sonata
Mr .
Kalish
Mr. MacCourt
Rehearsal Stage
Mozart
Opera
transcriptions
4:15 -
5:30
FOR PERF. AUG.
26
Mr. Knussen Rehearsal Stage
Knussen Fanfares for Tanglewood
Personnel as previously assigned
5:30 - 6:00
FOR PERF. AUG . 26
Tanglew®d Music Center
TANGLEWOOD MUSIC CENTER ORCHESTRA
First Concert
Tuesday, July 8, 1986 at 8:30 p.m.
Theatre Concert Hall
SCHUBERT OVERTURE "ROSAMUNDE" 0pus~26
Homely Pfiund, conductor
Vessau, East Germany
HINDEMITH SYMPHONIC METAMORPHOSIS
Of themes by Carl Maria von Weber
Allegro
"Turandot": Scherzo
Andantino
March
Mark Gibbon, conductor
Minneapolis, Minnesota
Intermission
BEETHOVEN SYMPHONY NO. 7 in A MAJOR, Opus 92
Poco sostenuto; Vivace
Allegretto
Presto; Assai meno presto; Tempo primo
Allegro con brio
Seiji Ozawa, conductor
This program was prepared under the guidance of Seiji Ozawa and Gustav Meier.
The Friends of, Music at Tanglewood, an organization ofi music lovers and
patrons , generously support the operation o{, the Tanglewood Music Center.
Friends are invited to all concerts o (*, the Tanglewood Music Center with a Family
Season Membership o(, $60, or an Individual Season Membership oK $40. Others
attending each TMC event are asked to contribute a minimum o{, $5.00 at the
gate, $6.00 £or orchestra concents.
The Tanglewood Music Center is also supported by a grant i \rom the National
Endowment &or the bits.
BALDWIN PIANO
ORCHESTRA PERSONNEL
(Winds, brass and percussion listed alphabetically)
First Violins
Cellos
Horns
Steven Miller
Bryndis Baldursson
Tod Bowe master
Elizabeth Suh
Katja L infield
Robert Danforth
Linda DeRoche
Lydia Forbes
Andres Diaz
Daniel Schulze
Margaret Bichteler
Samuel Swift
Ellen Tomasiewicz
William Ver Meulen
Maile Kali
Karl Parens
Julia Baumgartel
Michael Stirling
Trumpets
Caroline Wolff
Rachel Gruber
Kathy Haid
Andreas Sami
Anthony Di Lorenzo
Patrick Kunkee
Jennifer Moreau
Steven Sigurdson
Wesley Nance
Bing Wang
Owen Young
Brian Rood
Mary Weber
Dionisia Fernandez
Emma Schaling
Sara Parkins
Andrew Schast
Matthew Barley
Trombones
Megumi Teshima
Basses
Ronald Carrera
Scott McElroy
Henry Peyrebrune
Harold Van Schaik
Second Violins
Keith Kawazoe
Michael Zion
Soo-Yeon Kim
Aldo Fabrizi
Annamae Goldstein
Guy Tyler
Tuba
Adriana Rosin
Janne Johansson
Jeffery Jarvis
Katie Lansdale
Jennifer Matteson
Mari Sone
Zhou Qian
Jerome Butler
Percussion
Timothy Adams
Ling Ling Guan
Flutes
David Hall
Marta Szlubowska
John Jutsum
Joanna Bassett
Alan Megna
Helena Hagglund
Jacqueline DeVoe
Robert Patterson
James Tsao
Adam Kuenzel - :
Amy K. Porter
Scott Stirling
Arie Yaacobi
Mark Sparks
Karen Bentley
Harps
Etsuko Tsuchida
Oboes
Mia Axon
Mari Kimura
Elizabeth Baker- Stoyanovich
Jonathan Blumenfeld
Alice Harlow
Violas
Eric Olson
Jane Rhoads
Librarian
Jenny Ries
Anna Schaum
Alexa Zirbel
Thomas Harvey
Ernest Richardson
Clarinets
Orchestra Manager
Davoren Chick
Lee Carroll "
Harry Shapiro
Tomoko Suzuki
Todd Palmer
David Rubinstein
Larry Passin
Duncan Prescott
Stage Manager
Rifat Qureshi
Michael Rusinek
Mercedes Leon
Douglas E. Whitaker
Karen Sanders
Trinh Le Trung
Bassoons
Eric Beselin
Lynn Rilling
Silvia Coricelli
Katrina Smith
Jon Gaarder
Timothy McGovern
Patricia Paulson
Program Notes
SCHUBERT (31 Jan. 1797 - 19 Nov. 1828) Rosamunde: Overture, D. 644
While in Vienna for the opening of Euryanthe in October of 1823, Helmina von
Chezy,who had provided the lamentable libretto for that work, commissioned Schubert
to write music for her grand romantic drama, "Rosamunde, Princess of Cyprus." In
all, Schubert wrote nine separate pieces for the play in the span of some five days.
The premiere took place on 20 December, 1823 at the Theater an der Wien and the
music was generally well received. Unfortunately the same cannot be said for the
play, which closed after the second performance. (The plot deals with the adventures
and misfortunes of the unfortunate Princess Rosamunde. She eventually becomes the
target of a murder plot where, through alchemy, a letter is poisoned in such a way
that to read it would prove fatal. The plot, after four acts, fails when the
villain himself reads the letter by mistake.)
The music was largely forgotten until it was unearthed some 44 years later by
Sir Arthur Sullivan (of Gilbert and Sullivan fame) and Sir George Grove (of Grove's
Dictionary) neatly wrapped in a dust-covered parcel in a pile of manuscripts owned
by Schubert's nephew Eduard Schneider. The two entractes and the ballet music were
the first numbers to finally gain a rehearing at a concert of the Friends of
Chamber Music in Vienna on 1 December 1867, sharing honors with the premiere of the
first three movements of Brahms' "A German Requiem."
Although the incidental music was newly composed for the play, Schubert orig-
inally used as his overture that of his opera "Alfonso und Estrella." He felt that
this piece was not appropriate for Rosamunde and intended to replace it, but under
the circumstances nothing was done. However, Schubert allowed a four-hand piano
arrangement of his 1820 overture to the play "The Magic Harp" to be published in
1827 as Op. 26, the number reserved for the Rosamunde music. In 1843 Diabelli pub-
lished this arrangement with the title "Overture to Rosamunde," and it is this
Zauberharfe" overture which has been associated with the Rosamunde music ever since.
HINDEMITH (16 Nov. 1895 - 28 Dec. 1963) Symphonic Metamorphosis of Themes by Weber
Like Russia in the Stalin era, Germany in the thirties was subjected to official
decrees and regulations governing many aspects of life and art. By 1934 Hindemith
found himself in increasingly serious difficulties. He already suffered the enmity
of Richard Strauss, head of the Nazi Kulturkammer , and the magazine Die Musik had
Just denounced his operas as lacking in the philosophical outlook which Germany
demanded of its artists. Shortly after, Goebbels, Minister of Propaganda and Public
Enlightenment, publicly accused Hindemith of "cultural Bolshevism," stating that his
works were degenerate and had no place in the musical life of the Third Reich, It
was not long before Hindemith found himself forced to leave Germany. In 1940 he
accepted an invitation to teach at Yale and in the summer of the same year he came
to Tanglewood where he Joined Aaron Copland in heading the composition department
of the newly formed Berkshire Music Center. The Symphonic Metamorphosis, a product
of this American period, was completed in August of 1943 and first performed the
following January by Artur Rodzlnski and the New York Philharmonic.
Symphonic Metamorphosis was written at a time when Hindemith was exploring the
German Romantics and is evidence of his continuing interest In Vbistorical ‘musics."
The four movements are loosely based on some little known Weber pieces. The first
and last movements are derived from themes of two of the Eight Pieces for Piano
Duet, Op. 60 (AH' Ongarese and a March in G minor, respectively), while the third
movement, marked Andantino, is based on a lyric theme taken from one of the Six
Easy Pieces for Piano Duet, Op. 3. The second movement, marked "Turandot; Scherzo,"
uses a Chinese melody quoted by Rousseau and used by Weber in the overture to his
incidental music for Schiller's oriental play Turandot. It is a tour-de-force
including many colorful percussion effects; a fugato, derived from the scherzo
melody, acts as a trio and is notable for the jazzlike treatment of its subject.
BEETHOVEN (16 Dec. 1770 - 26 Mar. 1827) Symphony No. 7 in A Major
The characteristic feature of Beethoven's Seventh is its absorption with rhythm.
Beethoven '8 music is always full of rhythmic interest - many of his themes are
recognizable from their rhythmic figures alone - but here it is paramount. The work
can be viewed almost as an exploration of purely rhythmic values in an orchestral
setting.
The Seventh Symphony was performed for the first time on 8 Dec. 1813 at Vienna's
University Hall together with the composer's Battle Symphony ("Wellington's
Victory"), and various smaller scale pieces and marches by composers like Dussek and
Pleyel. The concert was in aid of wounded Austrian and Bavarian troops and for the
occasion many of the area's leading musicians sat in the orchestra: Moscheles,
Hummel, Meyerbeer, Schuppanzigh , Spohr, Salieri, and others. The concert was a wild
success, although it was the Battle Symphony that was the hit of the evening. Still,
the Seventh scored the biggest success for Beethoven to date among his serious works.
The second movement allegretto had to be repeated and arrangements were soon brought
out. All in all, the concert marked the beginning of Beethoven's great popularity.
Program notes by David E. Gruender, Librarian, Tanglewood Music Center.
Tanglew(®d Music Center
FIRST CHAMBER MUSIC CONCERT
Sunday, July 13, 1986 at 10:00 a.m.
Theatre Concert Hall
PAepaAed by Vonal.d MacCouAt, PetoA Hadcock, Yehudi WynoA, and Max HobaAt
KROMMER PARTITA, Opus 79
Allegro
Menuetto (Allegretto)
Andante Allegretto
Allegro assai
Jonathan Blumenfield, A lexa liAbel., oboei
Loaaij PaA6in, Vuncan PAebcott, claAinetA
Jon GaaAdoA, PatAida Paulson, baAAoonA
Timothy McGovern, contAaba&Aoon
Tod B oweAma&teA, Linda VeRoche, hoAnd
MENDELSSOHN CONCERTPIECE NO. 1 in F MINOR, Opus 113
Allegro con fuoco - Andante - Presto
Vuncan PAeAcott, claAinet Silvia CoAicelli, baboon
Vaniel ShapiAo, piano
MOZART
Allegro
Thema con 6 variazioni - Andante gracioso
Menuetto
Adagio
Menuetto
Andante - Allegro mol to
DIVERTIMENTO NO. 15 in B-FLAT FOR
TWO HORNS AND STRINGS, K. 287
JennifieA MoAcau, violin EAneit RichaAcUon, viola
EtAuko TAuchida, violin Matthew BaAley, cello
Ellen TomAicwicz;~RobeAt VanfioAth, hoAnA
■RAVEL
INTRODUCTION AND ALLEGRO
Elizabeth Suh, violin
Bing Wang, violin
Joanna BaAAett, £ lute
Tomoko Suzulzi, viola
AndAeaA Sami, cello
Lee CaAAoli, claAinet
At La Axon, haAp
BACH
BRANDENBURG CONCERTO NO. 1 in F MAJOR, BWV 1046
(Allegro)
Adagio
Allegro
Menuet
Zhou Qian, solo violin
Annamae Goldstein, violin Eric Olson, oboe
Helena Hagglund, violin Elizabeth Stoyanovich, oboe
Trinh Le Trung, viola
Emmy Schaling, cello
Guy Tyler, bass
Benjamin Loeb, harpsichord
Alex.a Zirbel, oboe
Eric Beselin, bassoon
Robert rBahhorth , ‘''.horn
Tod Bowermaster, horn
The F riends oh Music at Tanglewood, an organization oh music lovers and
patrons, generously support the operation oh the Tanglewood Music Center. Friends
are invited to all concerts oh the Tanglewood Music Center with a Family Season
Membership oh $60, or an individual Season Membership oh $40. Others attending
each TMC event are asked to contribute a minimum oh $5.00 at the gate, $6.00
hor orchestra concerts.
The Tangleivood Music Center is also supported by a grant hrom the Motional
Endowment hor the Arts.
BALDWIN
PIANO
Tanglew(©d Music Center
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
FIRST CONCERT
Sunday, July 13, 1986 at 8:30 P.M.
Chamber Music Hall
FOUR SONGS from the SOIREES MUSICALES
GIOACCHINO ROSSINI
La partenza
La gita in gondola
La promessa
L * invito
Amy ClaAk AJU.apouJU.o6 , 6opAano
Kenneth Gnigg, piano
PIANO QUARTET IN G MINOR, K. 478
WOLFGANG AMADEUS MOZART
Allegro
Andante
Rondo
KaAen Bentley, violin
EamAt RichaAcLbon, viola
Matthew BaAley, cello
CoaoI Aa cheA, piano
lntenmi66ion
SIX SONGS from the ITALIENISCHES LIEDERBUCH
Schon streckt' ich aus
HUGO WOLF
BACH
BRANDENBURG CONCERTO NO. 1 in F MAJOR, BWV 1046
(Allegro)
Adagio
Allegro
Menuet
Zhou Qian,
Annamae Goldstein, violin
Helena Hctgglund, violin
Trinh Le Trung, viola.
Emmy Schaling, cello
Guy Tyler, bass
Benjamin Loeb, harpsichord
60 lo violin
Eric Olson, oboe
Elizabeth Stoyanovich, oboe
Alexa Zirbel, oboe
Eric Beselin, bassoon
Robert llah^orth, % horn
Tod Bowermaster, hofin
The Friends ofi Music at Tanglewood, an organization ofi music lovers and
patrons, generously support the operation o the Tanglewood Music Center. Eriends
are invited to all concerts o& the Tanglewood Music Center with a Family Season
Membership ofi $60, or an "Individual Season Membership o£ $40. Others attending
each TMC event are asked to contribute a minimum oft $5.00 at the gate, $6.00
&or orchestra concerts.
The Tangleicood Music Center is also supported by a grant irom the National
Endowment ( [or the Arts.
BALDWIN PIANO
Tanglew®d Music Center
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
FIRST CONCERT
Sunday, July 13, 1986 at 8:30 P.M.
Chamber Music Hall
FOUR SONGS from the SOIREES MUSICALES GIOACCHINO ROSSINI
La partenza
La gita in gondola
La promessa
L 'invito
Amy Clank AllapoulloA , Aopnano
Kenneth. Gnlgg, piano
PIANO QUARTET IN G MINOR, K. 478
Allegro
Andante
Rondo
Kanen Bentley, violin
EnneAt PlchaAdAon, viola
WOLFGANG AMADEUS MOZART
Matthew Banley, cello
Ca/iol An.chen., piano
IntenmlAAlon
SIX SONGS from the ITALIENISCHES LIEDERBUCH HUGO WOLF
Schon streckt' ich aus
Ein Standchen euch zu bringen
Und will st du deinen Liebsten sterben sehen
Heb' auf dein blondes Haupt
Lass sie nur gehn
Sterb' ich, so hill It in Blumen meine Glieder
Michael Vonovan , banltone
Philip Hlghfilll, piano
MARTIN AMLIN
A LASTING SPRING
Dirge (Meredith)
Spring and Fall (Hopkins)
Music, when soft voices die... (Shelley)
Rest (Christina Rossetti)
Orpheus (Fletcher)
Anne deVnieA PichandAon, Aopnano
ThomaA Vewey, piano
THREE SONNETS OF PETRARCH
Sonnet 134
Sonnet 61
Sonnet 156
Salvatone Champagne, tenon.
VenniA Helmnich, piano
FRANZ LISZT
Philip High fill iA a memben. o f the TMC vocal f acuity .
The Mozant quantet woa coached by JuliuA Levine.
THE PERFORMERS ASK THAT THERE BE APPLAUSE ONLY AT THE END OF EACH GROUP OF SONGS
The singers in this recital are students in the Master Classes of Phyllis
Curtin, Tanglewood Music Center Artist-in-Residence for Vocal Music.
BALDWIN PIANO
The VniendA oft MuAic at Tanglewood, an onganization of muAic lovenA and
patnonA, genenotiAly Auppont the operation of, the Tanglewood MuAic Centen. VniendA
one invited to all concentA of the Tanglewood MuAic Centen with a Family SeaAon
MembenAhip of $60, on. an Individual SeaAon MembenAhip of $40. OthenA attending
each TMC event one aAked to contnibute a minimum of $5.00 at the gate, $6.00
fon oncheAtna concentA.
The Tanglewood MuAic Centen iA alAo Aupponted by a gnant fnom the Uatconal
Endowment fon the AntA.
Translations
Four Songs from the Soirees musicales, by Rossini
The Parting
The fiery instant is here: goodbye, my
How shall I live, my dear one, so far
from you?
I shall always live in pain,
I shall have no more love...
and you will never know the power you
hold over me.
Always on your pathway,
always I shall be near you...
and you will never know the power you
hold over me.
An Excursion in a Gondola
Fly, little agile gondola! Row, oh sailor,
now that my Elvira, my delight, is in my
arms and ready to challenge the sea.
The calm lagoon shines. No sail appears;
the moon is pale in the sky. All invites
us to sigh. Row, sailor!
If loves' kiss invites you, do not fear,
my beautiful treasure. You will know that
life is only a kiss of love.
ice.
The Promise
Do not believe, dear one, that I could
ever stop loving you.
Not even in jest will I deceive you.
As long as I live, only you, dear one,
will be my spark, my beautiful flame.
The Invitation
Come, my Ruggiero, your Eloisa cannot
remain separated from you; you have
already responded to my tears; come
receive my prayer.
Come, my beautiful angel.
Come, my delight;
Come, to repose upon my breast.
Feel if passion, if love invites you...
Come, my life, come make me die.
But already a serene, sweet zephyr rocks
the sea. . .
Come to this breast, Elvira; Come and
learn of passion.
Six songs from the Ital ienisches Liederbuch, by Wolf
Schon streckt1 ich aus im Bett die muden Glieder
Just as I had stretched my weary limbs in bed your image stood before me, my beloved.
Immediately I spring up, put on my shoes again and wander through the town with my
lute. I sing and play untilthe streets resound; many listen, I pass quickly by.
flany a maid has been moved by my song, while the wind wafts song and sound away.
Ein Standchen Euch zu bringen
I came to bring you a serenade, if the master of the house has no- objection. If you
have a pretty young daughter, it is better not to keep her too strictly in. But if
she is already in bed, I beg you let her know from me that her sweetheart, who thinks
of her day and night, came to see her, and that in a day of twenty-four hours he will
miss her twenty-five.
Und willst du deinen Liebsten sterben schen
If you would see your lover die, do not bind your hair, fair one. Let it fall free
over your shoulders like threads of pure gold. Like golden threads touched by the
breeze. Beautiful is your hair, beautiful its owner. Gold threads, silken threads,
countless. Ceautiful are your tresses, beautiful is she who combs them.
Heb 1 auf dein blondes Haupt
Raise your fair head and do not sleep, and let no slumber dull your senses. I will
tell you four important things, none of which you should miss. The first: that you
are breaking my heart, the second: I want only to belong to you, the third: that
I entrust my salvation to you, the last: my soul loves only you.
Lass sie nur gehn
Let her go, with her proud airs, the wonder-herb from the meadows! One sees the aim
of her unseeing eye; from day to day another takes her fancy. She carries on just
like Tuscany's river which every mountain streamlet must follow. She carries on
like the Arno, so it seems to me, one moment she has many suitors, the next not one.
Sterb 1 ich, so hoi 1 t in Blumen meine G1 ieder
If I die, cover my limbs with flowers; I do not wish that you should dig me a grave.
Lay me beside that wall where you have so often seen me. There let me be laid in
rain or wind; I die gladly if it is for you, beloved child. There let me be laid
in sunshine and rain; I die happy if I die for you.
Three Sonnets of Petrarch, by Liszt
Sonnet 134
Peace I do not find, and I have no wish to make war; and I fear and hope, and
burn and am of ice; and I fly above the heavens and lie on the ground; and I
grasp nothing and embrace all the world.
One has me in prison who neither opens nor locks, neither keeps me for his own or
unties the bonds; and Love does not kill and does not unchain me, he neither wishes
me alive nor frees me from the tangle.
I see without eyes, and I have no tongue and yet cry out; and I wish to perish and
I ask for help; and I hate myself and love another.
I feed on pain, weeping I laugh; equally displeasing to me are death and life. In
this state am I, Lady, on account of you.
Sonnet 61
Blessed be the day and the month and the year and the season and the time and the
hour and the instant and the beautiful countryside and the place where I was struck
by the tv/o lovely eyes that have bound me;
and blessed be the first sweet trouble I felt on being made one with Love, and the
bow and the arrows that pierced me, and the wounds that reach my heart!
Blessed be the many words I have scattered calling the name of my lady, and the sigh
and the tears and the desire;
and blessed be all the pages where I gain fame for her, and my thoughts, which are
only of her, so that no other has part in them!
Sonnet 156
I saw on earth angelic qualities and heavenly beauties unique in the world, so that
the memory pleases and pains me, for whatever I look on seems dreams, shadows and
smoke.
And I saw those two beautiful lights weeping that have a thousand times made the
sun envious; and I heard amid sighs words that would make mountains move and rivers
stand still .
Love, wisdom, worth, piety, and sorrow made, weeping, a sweeter music than any
other to be heard in the world;
and the heavens were so intent upon the harmony that no leaf on any branch was seen
to move, so much sweetness filled the air and the wind.
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
SECOND CONCERT
Tuesday, July 15, 1986 at 8:30 P.M.
Chamber Music Hall
THREE BALLADS
Erlkonig (Goethe)
Tom der Reimer (Fontane)
Die wandelnde Glocke (Goethe)
VenniA Be.nd.cA, baAA-basiitone
Phtiip HighfiiZZ, piano
VIER LIEDER, Opus 2
Schlafen, nichts als Schlafen
Schlafend tragt man mich
Nun ich der Riesen Starks ten aberwand
Warm die Ltifte
John KnamaA, banitone
Kenneth Gntgg, piano
TEL JOUR TELLE NUIT (Paul Eluard)
Bonne journge
Une ruine coquille vide
Le front comme un drapeau perdu
Une roulotte couverte en tuiles
A toutes brides
Une herbe pauvre
Je n'ai envie que de t 'aimer
Figure de force brGlante et farouche
Nous avons fait la nuit
IfJiiliam Gotten, tenon.
JeAAy Vecima, piano
CARL LOEWE
ALBAN BERG
FRANCIS POULENC
InteAmiAAion
MENDELSSOHN CONCERTPIECE NO. 1 in F MINOR, Opus 113
Allegro con fuoco - Andante - Presto
Vuncan PAeAcott, clarinet Silvia Coricelli, baAAoon
Daniel Shapiro , piano
CINQ CHANSONS DE CL&1ENT MAROT, Opus 15 GEORGES ENESCO
Estrene a Anne
Languir me fais. . .
Estrene de la rose
Du confict en douleur
Aux damoyselles paresseuses
A HiAon SwenAon, mez zo-Aoprano
Margo Garrett, piano
Terry Vecima, MaAgo Garrett and Philip Highfill are
membeAA of the TMC vocal. faculty.
The MendelAAohn trio m :oa coached, bu Peter. Hadcock.
THE PERFORMERS ASK THAT THERE BE APPLAUSE ONLY AT THE END OF EACH GROUP OF SONGS
The singers in this recital are students in the Master Classes of Phyllis
Curtin, Tanglewood Music Center Artist-in-Residence for Vocal Music.
The. FAiencU of MuAic at Tanglewood, an oAganization of wulaZc ZoveAA and
patAonA, generouAly Aupport the opeAation of the Tanglewood MuAic Cent er. Fa iendA
aAe invited to ail conceAtA oft the Tanglewood MuAic Center with a Family SeaAon
MembeA&hip of) $60, oa an Individual. SeaAon Membership of $40. OtheAA attending
each TMC event aAe asked to contribute a minimum of $5.00 at. the gate, $6.00 foA
orchestra conceAtA.
The Tanglewood MuAic Center is alAo AuppoAted by a gAant fAom the National
Endowment foA the bits.
BALDWIN PIANO
Tanglew®d Music Center
TANGLE WOOD MUSIC CENTER ORCHESTRA
Second Concert
Wednesday, July 16 , 1986 at 8:30 P.M.
Theatre Concert Hall
WEBER
Richard Hoenich , conductor
Montreal, Canada
OVERTURE "EURYANTHE"
BRITTEN FOUR SEA INTERLUDES, Opus 33a
Dawn
Sunday Morning
Moonl ight
Storm
Richard Wester field, conductor
New Haven, Connecticut
Intermission
MOZART
SYMPHONY NO. 23 in D MAJOR, K. 181
(in three movements played without pause)
WAGNER TANNKAUSER: OVERTURE AND VENUSBERG MUSIC
with. Women of, the Tanglewood Music Center l focal department
Gustav f Meier, conductor
This program was prepared under the guidance of Gustav Meier.
The Eniends of Music at Tanglewood, an organization of music lovers and
patron* , generously support the operation of the Tanglewood Music Center. Eniends
are invited to ail concerts of the Tanglewood Music Center with a Eamily Season
Membership of $60, or an Individual. Season Membership of $40. Others attending
each TMC event are asked to contribute a minimum of $5.00 at the gate , $6.00 for
orchestra concerts.
The Tanglewood Music Center is also supported by a grant from the National
Endowment for the Arts.
BALDWIN PIANO
ORCHESTRA PERSONNEL
(Winds, brass and percussion listed alphabetically)
First violins
Cellos
Horns
Hart a Szlubowska
Steven Sigurdson
Tod Bowermaster
Mari Sone
Matthew Barley
Robert Danforth
Karen Bentley
Helena Hagglund
Emmy Scha.l ing
Karl Parens
Linda DeRoche
Daniel Schulze
Ellen Tomas iewicz
Soo-Yeon Kim
Andreas Sami
William Ver Meulen
Etsuko Tsuchida
Owen Young
Arie Yaacobi
Katja Linfield
Trumpets
Mari Kimura
Samuel Swift
Anthony Di Lorenzo
Adriana Rosin
Ling Ling Guan
Michael Stirling
Andres Diaz
Patrick Kunkee
Wesley Nance
Brian Rood
Zhou Qian
Rachel Gruber
Mary Weber
Annamae Goldstein
Bryndis Baldursson
Katie Lansdale
Basses
Trombones
James Tsao
Ronald Carrera
Keith Kawazoe
Scott McElroy
Second violins
Aldo Fabrizi
Harold Van Schaik
Sara Parkins
Guy Tyler
Michael Zion
And rev/ Schast
Janne Johansson
Tuba
Dionisia Fernandez
Caroline Wolff
Jennifer Matteson
Jerome Butler
Jeffery Jarvis
Megumi Teshima
Henry Peyrebrune
Percussion
Bing Wang
Flutes
Timothy Adams
Maile Kali
David Hall
Lydia Forbes
Joanna Bassett
John Jutsum
Julia Baumgartel
Elizabeth Suh
Jacqueline DeVoe
Adam Kuenzel
Amy K. Porter
Alan Megna
Robert Patterson
Scott Stirling
Kathy Raid
Margaret Bichteler
Mark Sparks
Oboes
Harps
Steven Miller
Mia Axon
Jennifer Moreau
Elizabeth Stoyanovich
Jonathan Blumenfeld
Alice Harlow
Violas
Eric Olson
Harpsichord
Karen Sanders
Lynn Rilling
Jane Rhoads
Alexa Zirbel
Daniel Shapiro
Tomoko Suzuki
Clarinets
Librarian
Katrina Smith
-Lee Carroll
Thomas Harvey
Trinh Le Trung
Mercedes Leon
Todd Palmer
Larry Passin
Orchestra Manager
Anna Schaum
Davoren Chick
Duncan Prescott
Michael Rusinek
Harry Shapiro
Stage Manager
Ernest Richardson
David Rubinstein
Bassoons
Eric Beselin
Douglas E. Whitaker
Jenny Ries
Silvia Coricelli
Rifat Oureshi
Jon Gaarder
Timothy McGovern
Patricia Paulson
Women
of the Tanglewood Music Center Vocal
Department
Sopranos
Mezzo-sopranos
Amy Aliapoulios
Lila Ammons
LuAnn Aronson
Alicia Cordell
Eva Franko
Katharine Emory
Dominique LaBelle
Pamela Murray
Lisa Lutter
Barbara Nunes
Anne McMillan
Jeanne Okras inski
Teri Medley
Karen Peters
Anna Moser
Michelle Shayne
Joanne Mouradjian
Allison Swenson
Anne Richardson
Johanna Thompson
Susan Rosenbaum
Program Notes
WEBER (18 Nov. 1786 - 5 June 1826) Overture to Euryanthe
te background of German Romantic opera was the sinqspiel, which became
tho no 1n^ 1mbued with romantic elements, and the definitive work in establishing
in iR9?Pe r3S ^eber's densely popular Der Freischutz, first performed in Berlin
i L' * !??n^e was an attempt to transcend the singspiel tradition and is the
thrn °h6 °' We°er's operas that does not contain spoken dialogue. It is nearly
ucn composed and is unified by recurring themes, an important anticipation of
j oner s more thoroughly worked out leitmotif system. The opera looks back to a
ime when knighthood was in flower and the structure rests on a harmonic pattern
w ich opposes a simple diatonic style associated with the world of chivalry and good
-ss-th a highly developed chromaticism for the world of the supernatural and evil
e libretto, upon which has been heaped more abuse than on any other in the history
0 opera, was written by Hermina von Chezy, whose only other claim to immortality
is as the writer of the dreadful play for which Schubert wrote his Rosamunde music.
1 he composer conducted the first performance in Vienna on 25 Oct. 1823 and the pro-
uction limped on for about twenty performances before disappearing from the reper-
tory, although the overture survives as a masterpiece in its own right, full of
splendor and brilliance and a reminder of what a potential operatic masterwork was
lost through the incompetence of its librettist.
BRITTEN (22 Nov. 1913 - 4 Dec. 1976) Four Sea Interludes from Peter Grimes
Peter Grimes was written on a commission from the Koussevitzky Music Foundation and
is drawn from "The Borough," a long poem by George Crabbe, an East Anglian poet of
the late 18th and early 19th centuries who had been born at Aldeburgh in Britten's
native Suffolk. The life of Peter Grimes is the subject of one long portion of the
po^m* He 1S a brooding fisherman of Aldeburgh who is held responsible for the abuse
i. death of two apprentices and comes to be shunned by the townspeople. By the
mal curtain he is advised by one of his few remaining friends to board his boat,
take it far out to sea, and sink it.
ine world premiere of Peter Grimes was in London on 7 June 1945 and its success was
anC* ^ecisive* The opera was recognized as a masterpiece of its kind and
the beginning of a greatly promising operatic career. The American premiere, under
the direction of Leonard Bernstein, took place at Tanglewood on 5 Aug. 1947 in this
very theater and continued for three performances. Britten composed each act as an
unbroken piece of music and used instrumental interludes for changes of scene.
Dawn," an impressionistic depiction of the sea at daybreak, establishes the mood of
he opera and served as the link between the prologue and Act I. "Sunday Morning"
is a joyouse Allegro spiritoso that serves as a prelude to Act II, and "Moonlight"
introduces Act III. The storm interlude links the two scenes of Act I just before
eter s first entrance. The music is intended to reflect Grimes' inner turmoil as
well as representing an actual storm raging without.
MOZART (27 Jan. 1756 - 5 Dec. 1791) Symphony No. 23 in D, K. 181
K. 181 is one of the first symphonies Mozart wrote after the 17 year old composer had
returned from Italy for the third and final time after the production of his opera
ucto oilla. Most of the symphonies of this period show a strong Italian influence,
although some of the slow movements begin to betray a popular Viennese flavor. In
the latter part of the 18th Century, the 'sinfonia' and 'overtura' were for all
intents and purposes synonymous terms: Planelli, writing in 1772, speaks for the
genre when he writes that "All symphonies that serve as overtures are cast from the
ame die, and are inevitably made up of a solemn Grouping of an allegro, a largo
and a dance."
he D major symphony is dated Salzburg, 19 May 1773. The first movement is in sonata
orm with two clearly contrasting subjects; it incorporates a succession of exuberant
instrumental devices such as repeated notes, arpeggios, sudden pianos and fortes,
scales, and syncopations. The extremely cantabile second movement is linked without
pause to the first and features a poignant oboe solo in the siciliano style. This
in turn leads directly into the final march-like rondo.
WAGNER (22 May 1813 - 13 Feb. 1883) Tannhauser: Overture and Venusberg Music
Tannhauser is another outgrowth of German Romanticism and was first performed at
uresden on 19 Oct. 1845. The Venusberg music was written at a much later date for
the opera's Paris debut. After 164 rehearsals (!) the first Paris performance took
place on 13 Mar. 1861, but not without severe problems. Originally, the Paris pro-
ducers were aghast that there was no second act ballet and tried in vain to move
-agner to write one. Wagner did meet them halfway, however, in adding music suitable
tor the ballet in the first act to more adequately portray the decadence of the
court of Venus. Still, the fashionable world of Paris, represented by the Jockey
Blub, was miffed at his original arrogance at denying them a ballet and did every-
-hing they could to disrupt performances, including playing penny whistles. By
•he third performance counterdemonstrations led to riots in the aisles and the with-
drawal of the opera. Understandably , Uagner viewed a return to Paris with a great
deal of reluctance for some years.
Program notes by David E. Gruender, Librarian, Tanglewood Music Center
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Tanglew<©d Music Center
SECOND CHAMBER MUSIC CONCERT
Saturday, July 19, 1986 at 2:00 P.M.
Theatre Concert Hall
PAepaAed by FAank EpAteln, LouIa KAOAneA, JeAome RoAen,
Ronald Feldman, Philip Highfiill, and Pina CaAmlAelll
KRAFT SUITE FOR PERCUSSION
Fanfare
Andante
Ostinatos .
Toccata
Cadenze
Timothy Adam A, David Hall., John Jutsum, Robert PatteAAon, peAcuAAlonlAtA
FAank Epstein, conductor
PR0K0FIEFF QUINTET FOR WINDS AND STRINGS, Opus 39
Tema: Moderato
Andante energico
Allegro sostenuto ma con brio
Adagio pesante
Allegro precipitato, ma non troppo presto
Andantino
Bing Wang, violin Jane. RhoadA, oboe
Ka/ien SandeAA, viola Todd PalmeA, claAlnet
JeAome ButleA, baAA
MOZART QUINTET FOR STRINGS IN G MINOR, K. 516
Allegro
Menuetto: Allegretto
Adagio, ma non troppo
Adagio
Allegro
Annamae Gold&tein, violin Lynn Rilling, viola
Kathy Hold, violin Tomoko Suzuki, viola
A ndAeaA Sami, cello
ALAN YIM MOMENTS OF RISING MIST
Lydia FoAbeA, violin Amy K. PoAteA, alto filute
Samuel Swifit, cello Todd PalmeA, claAlnet
Alice Hanlon), hajip Scott Stinting, peAcuAAion
CaAol A/ichen., piano, celeAta
Alan Yim was born in 1958 and grew up in Los Angeles. He earned a B.A. in
composition from the University of California, Santa Barbara, and an M.M. (awarded
with a Mark of Distinction) from the Royal College of Music in London. Last summer,
he worked on a music-theatre project with Harrison Birtwistle at Dartington. Work
in the computer-music medium has been under the guidance of Barry Vercoe at the
Massachusetts Institute of Technology, as well as with John Chowning at the Center
for Computer Research in Music and Acoustics (CCRMA) at Stanford University.
Currently he is a Ph.D. candidate at Harvard, where his teachers have been Earl
Yim, Donald Martino, and Peter Maxwell Davies.
He has been the recipient of a number of awards, among which are three cons-
ecutive BMI Awards, two consecutive George Arthur Knight Prizes from Harvard Uni-
versit: y, an ASCAP Foundation Grant, the ISCM's New England Composers Prize, a
Lomposer-in-Residence Fellowship at the Cummington Community and School of the Arts
(supported by the Massachusetts Council of the Arts), and awards from NEWCOMP (New
tng land Computer Arts Association), Gettysburg College, MACUSA, and the Fondazione
Acc&demia fiuctcelc Chi yi ana.
The idea of a palimpsest is one which has fascinated me for a long time.
The word itself refers to a surface for writing or painting upon which layer after
layer of information is superimposed. Moments of Rising Mist takes the basic
formal outline and harmonic shape of an earlier (withdrawn) work and superimposes
numerous layers of new information. The original inspiration and the title derive
from a Chinese scroll painting of a landscape that I saw in the British Museum in
London, depicting hills sparsely covered with vegetation, a body of water, and
eddying clouds of mist hovering above its surface. The melodic strands are the
result of several lines which have been compressed/superimposed to form a single
entity. Each instrument's compound line is then layered, one upon another, to
produce the various canonic/heterophonic textures which dominate the work. The
intent is to produce a kind of swirling, semitransparent 'mist* in which any one
melodic strand might be the object of the listener's focus. Another way to look at
Moments of Rising Mist would be to think of the tutti textures as aural tapestries,
with the harp, vibraphone and piano as the warp, and with the winds and strings
weaving their way(s) through.
-Alan Yim-
Alan Yim is a Fellow in Composition at the 198C Tanglewood Music Center.
STRAUSS . FIVE. SONGS
All mein Gedanken, 0pr. 21,, no. V
Liebeshymnus, Op. 32, No. 3
Der Nachtgang, Op. 29, Mo. 3
Befreit, Op. 39, No. 4
0 sasser Mai! Op. 32, No. 4
Halter Dixon, tenor
Philip Highlill, via.no
SCHUMANN QUINTET FOR PIANO AND STRINGS IN E-FLAT MAJOR, Opus 44
Allegro brill ante
In modo d'una Marcia: Un poco largamente
Scherzo: Mol to vivace
Allegro ma non troppo
A ndrew Schast, violin David Rubinstein, viola
M arta Szlubowska , violin Steven Sigurdson, cello
Kevin Kenner, piano
The Friends ofi Music at Tanqlewood, an organization o& music lovers and
patrons , generously support the operation o£ the Tanglewood Music Center . Friends
are invited to all concerts o{, the Tanglewood Music Center with a Family Season
Membership ofi $60, or an Individual Season Membership ofi $40. Others attending
each TMC event are asked to contribute o. i minimum ofi $5.00 at the gate, $6.00 fior
orchestra concerts.
The Tanglewood Music Carter is also supported by a grant {rom the Matronal
Endowment &or the Arts.
BALDWIN PIANO
Program Notes and Translations
William Kraft's Suite for Percussion is scored for bongos, two snare drums,
field drum, tenor drum, two bass drums, two sets of orchestra bells, vibraphone,
French bell (a large, rather round cowbell from the Pyrenees, which may be sub-
stituted by a regular, but very resonant cowbell of the desired pitch - "D" - or
by the vibraphone playing its lowest "D'!), two temple bells (small Oriental bells
pitched in the higher register of the orchestra bells), five tuned gongs (straight-
toned pitched instruments, generally from Indonesia, some from Japan, differentiated
from the tam-tam which has a non-pitched spreading sound), tambourine, hand drum
(like - or may actually be - a very large tambourine without jingles), song bells
(a metallophone which is pitched one octave lower than the orchestra bells, has a
soft dulcet quality, and serves as a cross between the vibraphone and orchestra
bells, and flexatone (a piece of flexible steel attached to a slingshot-type
frame with two beaters which, when the instrument is shaken, strike opposite sides
of the steel, giving a sustained sound similar to that of a theremin. Pitch is
controlled by pressure from the thumb on
soprano musical saw.
Five Songs, by Richard Strauss
All mein Gedanken, Op. 21, no. 1
All my thoughts, my heart and my senses.
Are wandering there where my beloved is.
They go their way through wall and gate.
No locks nor moats can stand in the way;
They fly like little birds high through
the air.
They need no bridges o'er the water and
chasms.
They find the little town, they find the
house.
They seek out her window from among all
others.
And knock and call: Open, let us enter,
We come from your beloved and greet you,
OPen, open, let us enter.
Liebeshymnus , Op. 32, no. 3
Blessed be the day you were born.
Blessed be the day that I first saw you!
Lost i4 the brilliance of your eyes,
I stand, a blissful dreamer.
The heavens seem to me to open
Which I had only sensed from afar.
And I glimpse a distant sun
Whereof my longing had only warned me.
How beautiful this image at this moment!
In this moment hew great my happiness!
And pleading, I call unto Destiny:
Oh, linger, linger unchanged!
Per Nachtgang, Op. 29, no. 3
We were strolling, on a quiet, balmy ; '
•night.
Arm in arm, your eyes reflected in mine.
The moon shed its silvery light across
your countenance,
A golden halo seemed to rest upon your
lovely head.
And you appeared to me, as if a saint,
Gentle and great and overflowing with
inspiration.
Holy and pure as the beloved sun.
And my eyes began to burn
With the warmth of approaching tears.
I clasped you more tightly and kissed you.
Kissed you very softely. My soul was
weeping.
the steel blad; it might be considered a
-from notes by the composer-
Befreit, Op. 39, no. 4
You will not weep, softly, softly.
You will smile and, as if before a
journey,
I will respond with a glance and a kiss.
Our lovely four walls, you gave them
life,
I have made them for you into a whole
world.
Oh, happiness!
Then you will warmly clasp my hand.
And surrender to me your soul.
Will leave me with our children.
You gave me all your life,
I will give it back to them.
Oh, happiness!
It will be very soon, we both know it;
We have freed each other from pain,
And so I gave you back to the world.
Henceforth, you will come to me only in
dreams ,
To bless me and to cry with me.
Oh, happiness!
0 susser Mai! Op. 32, no. 4
Oh sweet May, have pity,
0 sweet May, I implore you:
Upon your breath the fields grow warm.
And all swells that is in your spell;
You, so mild and with endless grace,
0 lovely May, keep my gift safe!
The gloomy pilgrim who in these provinces
,F!ed the icy breath of winter.
Has chosen a maiden, gentle to look upon,
Spring-fresh like you in chaste splendor.
Arm in arm, we are loving and in love;
Have pity. May, thou glorious one, have
pity!
• r .
.0 '
v • v
* ') t-v.
:• ; r
Tanglew®d Music Center
THIRD CHAMBER MUSIC CONCERT
Sunday, July 20, 1986 at 10:00 a.m.
Theatre Concert Hall
PA.epciA.zd by Fenwick Smith, LawAence OJolfie, Dennis HelmAich,
0U.VZA KnuAAen, and Leon FleisheA
JANACEK
Allegro
Andante sostenuto
Vivace
Allegro animato
Jacqu.eU.ne DeVoe, filute
EUzabeth Stoyanovich, oboe
Michael PuAinek, claAinet
SUITE "ML ADI" (Youth) (1924)
EAic Beselin, baboon
Daniel Schulze, ho An
Lee CoaaoII, baAA claAinet
SCHULLER QUARTET FOR DOUBLE BASSES (1947)
Allegro ...
Allegro scherzando
Adagio
Janne JohanAAon, Aldo Fabnizi, HenAy PeyAebAune ,
Keith Kawazoe, baAAistA
SIBELIUS SIX SONGS
Demanten pS marssnon
Kyssens hopp
L8ngsamt som . vallskyn...
Var det en drom?
Flickan kom ifr8n sin alsklings mote
Norden
Alicia CoAdell, AopAano
Dennis HelmAich, piano
MICHAEL GANDOLFI
PERSONAE
Julia BaumgaAtel , violin
VavoAen Chick, viola
BAyndiA BalduAAAon , cello
JeAome BuileA, baAA
MaAk SpaAlzA, (lute
Jonathan Bluwen&eld, oboe
Duncan PAescoii, claAinet
Linda VeKoche, hoAn
Daniel ShapiAo , piano
Michael Gandolfi is a Fellow in Composition at the 1986 Tanglewood Music
Center.
Personae is a piece which moves systematically from the projection of separate
individual characters to small groupings of these characters and finally all join
to form a single united voice. The work is divided into three movements which pro-
ceed without pause.
Movement one consists of an introduction, nine accompanied solos and a coda.
Harmonically and temporally, the solos outline an arch form:
A. oboe solo (moderate tempo);
B. viola (moderately slow);
C. flute (moderately fast);
D. bass (slow);
E. piano (fast);
D. 'cello (slow);
C. clarinet (moderately fast);
B. violin (moderately slow);
A. horn (moderate)
The second movement consists of a myriad of overlapping trios in which motives
and harmonies from the solos of the first movement are now shared by all. This
movement is organized as a series of four sections which move temporally from slow
to fast and become geometrically shorter on each appearance.
The third movement begins with all nine instruments scattered about, 'singing'
in their respective languages. This opening section is the climax of the four
rising arches of the second movement. Gradually, the individuals realign and
ultimately pair with their polar opposites from the first movement's arch form:
oboe and horn, violin and viola, flute and clarinet, etc. After this 'reconci-
liation" a new music emerges. This music is characterized by nine contrapuntal
lines which criss-cross to form octave doublings. It proceeds amorphously at
first, but eventually focuses on one tune which is shared by all.
-Michael Gandolfi-
SCHUBERT
Allegro vivace
Andante
Scherzo: Presto
Tema: Andantino
Finale: Allegro giusto
QUINTET FOR PIANO AND STRINGS IN A MAJOR,
f,r Opus 114 ("Trout"}
MaA.gaA.eX BXch.teX.eA, violin BAijndiA BalduAAAon, cello
KaAen SandeAA, viola JennifieA MatteAon; baAS
Saiko Sasaki, piano
The F Aiends oft Music at Tanglewood, an oAganization ofi music loveAA and
patAons, geneAouAly suppoAt the opeAation the Tanglewood Music CenteA. F Aiends
aAe invited to all conceAtA ofi the Tanglewood Music CenteA with a Family Season
MembeAship ol $60, oa an Individual SeaAon MembeAship ofi $40. OtheAA attending
each TMC event aAe asked to contAibute a minimum o{, $5.00 at the gate, $6.00
ioA oAcheAtAa conceAtA.
The Tanglewood MuAic CenteA is oIao AuppoAted by a gAant fiAom the National
Endowment f,oA the AaXa.
BALDWIN PIANO
Translations
Demanten p 3 marssnon (The Diamond in the March Snow), Op. 36, nr. 6
In the drifted snow a diamond clearly shone.
There has never been a tear or a pearl that has shone so brightly.
She shines heavenly from a secret longing and looks to the beautiful sunrise.
She stands adoringly in the ray, lovingly kisses it and it melts into a tear.
What more beautiful fate than to love the ultimate of what life gives and die
in love's ecstasy.
Kyssens hopp (The Kiss), Op. 13, nr. 2
There I sat, in a dream, near a spring.
I heard a kiss on my lips.
Softly it spoke to another (kiss):
"Look she, the shy girl, comes.
In a little while I will sit on her rosy lips and she will bear me faithfully
the whole day.
She dares not to taste the smallest berry so as not to mix me with the juice
of the berry.
Neither will she drink from the clear brook because she may crush me against the
rim of the glass.
She will not even whisper a word about love because she is afraid of frightening me
from her rosy lips."
L3ngsamt som qvallskyn (As slowly as the Evening), Op. 61, nr.l
As slowly as the sky loses its purple.
There above the shining surface the breezes are quiet and slumber.
From the edge of the water where the eye does not see clearly:
There is a faint echo that passes into silence.
The song ends at last.
Will I forget you?
Like the purple, the breeze and the past melody.
War det en drom? (Was it a dream?). Op. 37, nr. 4
Vlas it a dream?
So wonderfully, once upon a time, I was the friend of your heart.
I remember it as a song that has just ended and the string still vibrates.
I remember a rose given by you, so shy and tender.
I remember a tear of parting that shone.
Was it a dream?
A dream like the short life of a flower in a green spring pasture whose luster
quickly wilts away for the sake of new flowers.
But many nights I hear a voice and a vitter stream of tears hide deeply this
memory in your bosom,
This was your best dream.
Flickan kom ifr8n sin alsklings mote (The Tryst), Op. 37, nr. 5
The girl came from a meeting with her love.
She came with reddened hands.
Her mother said, "Why are your hands red?"
The girl said, "I was picking roses and a thorn pricked my hand."
Again the girl came from a meeting with her love.
She came with reddened lips.
Her mother said "Why are your lips red?"
The girl said "I was eating berries and the juice stained my lips."
Once more the girl came from a meeting with her lover.
She came with pale cheeks.
Her mother said, "Why are your cheeks pale?"
The girl said, "Ready my grave, mother,
"Hide me there and put a cross over me.
On the cross write these words:
Once she came home with reddened hands.
They were reddened between her lovers hands.
Cnee she came home with reddened lips
They were reddened under her lover's lips.
Finally she came home with a pale face. It was pale because of her lover's untruth.
Norden (The North), Op. 90, nr.l
The leaves fall and the lakes freeze.
Floating swans sail, sail again, oh sail sadly to the south looking for the food
that sustains them.
While they are in those lakes they long to come back; missing our lakes.
Then an eye will see them from the poetry and say:
"Suffering swans, what enchantement has the north?"
The one who longs from the south, his longing seeks the heaven.
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TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
PHYLLIS CURTIN SEMINAR
First Recital
Monday, July 21, 1986 at 11:00 A.M.
Chamber Music Hall
L' invitation au Voyage
Soupir
Lamento
La Vie anterieure
Kari Peters, mezzo-soprano
Kenneth Grigg, piano
CUATRO MADRIGALES AMATORIOS
Con que la lavare?
Vos me matasteis
De donde venis, amore?
De los alamos vengo, madre
Joanne Mouradjian, soprano
Dennis Helmrich, piano
CHANTS D' AUVERGNE
La Bergere aux Champs
L’eau de Source
Ou irons-nous Garder?
La-bas dans le Limousin
Michelle Shayne , mezzo-soprano
Margaret Kampmeier, piano
FOUR SONGS FROM SCHWANENGESANG
Am Meer
Stanchen
Irh Bild
Die Taubenpost
Ridley Chauvin, baritone
Margaret Kampmeier, piano
BANALITIES
Chanson d'Orkenise
Hotel
Fagnes de Wailonie
Voyage a Paris
Sanglots
Katharine Emory, mezzo-soprano
Margaret Kampmeier, piano
3 POEMS OF EDITH SITWELL
Daphne
Through Gilded Trellises
Old Sir Faulk
Anne McMillan, soprano
Kenneth Grigg, piano
HENRI DUPARC
JOAQUIN RODRIGO
JOSEPH CANTELOUBE
FRANZ SCHUBERT
FRANCOIS POULENC
WILLIAM WALTON
L' Invitation au Voyage
My child, my sister.
Think how sweet it would be
To go down there, to live together,
To love free from care,
To love and to die
In the land that resembles you!
The moist suns
Of these misty skies,
To my mind, have the charm,
So mysterious,
Of your treacnerous eyes,
Sparkling through their tears.
There, everything is order and beauty,
Luxury, calm and pleasure!
See on these canals
The sleeping boats
Tliat capriciously like to roam;
'Tis to satisfy
Your slightest wisli
They liave come from the ends of the world.
The setting suns
Again clothe the fields,
The canals, the whole town,
With hyacinth and gold;
The world falls asleep
In a warm light!
There everything is order and beauty.
Luxury, calm and pleasure!
Soupir
Never to see nor to hear her.
Never to call out her name.
But, faithfully, always to wait for her,
Always to love her !
To open one's arms out, and tired of waiting.
To close them on the void!
But yet, always to hold them out to her,
Always to love her.
All! -nothing left but to hold them out to her
And to exhaust oneself in tears.
Always to shed these tears,
Always to love her. . .
Never to see nor to iiear her.
Never to call out her name
But with a love, always more tender
Always to love her. Always!
Lamento
Do you know the white tomb
Where with a plaintive sound floats
The shadow of a yew-tree?
On the yew-tree a pale dove.
Sad and alone in the setting sun,
Sings its song.
One would say that the awakened soul
Weeps under the earth in unison
With the song.
And of the misfortunes of having been forgotten
Complaints, cooing
Very softly.
Oh! never more near the tomb
Shall I go, when evening descends
With its dark mantle,
To hear the pale dove
Sing, on the branch of the yew-tree.
Its plaintive song!
La Vie anterieure
I dwelled a long time in vast pillared halls
Which the sun rays of the sea coloured with
A thousand lights.
And which their great columns, straight and majestic.
Made, at night, alike to grottos of basalt.
The surging waves, rolling along the reflections of
The skies.
Intermingled in a solemn and mystical way
The all-powerful chords of their rich music
With the sunset's hues reflected in my eyes. . .
There, there is where I lived in calm voluptuousness
Amidst the azure, the waves and the splendors.
Amidst nude slaves impregnated with scents.
Who refreshed my brow with palm leaves.
And whose sole care was bent on fathoming
The painful mystery that made me languish.
Joanne Mouradjian, Soprano
Dennis Iielmrich, piano
Cuatro Madrigales Amatorios Joaquin Rodrigo
(inspired by Spanish music of the 16th century)
^ Con que la lavare?
Vos me matasteis
^ De donde venis, amore?
De los alamos vengo, madre
^Con que la lavare?
Row shall I wash this face of mine? How shall I wash it, for I live in great
sorrow. Married women wash themselves with the juice of lemons; I wash my
wretched self in grief and pain.
Vos me matasteis
You have slain me. Maiden, with your flowing hair; you have left me lifeless.
On the banks of a river I saw a young virgin; Maiden with your flowing hair,
you have left me lifeless.
✓
j De donde venis, amore?
Where liave you been, my love? I know very well where. Where have you been, my
friend? If I were a witness... Ah! Ah! Ah! I know very well where you have been.
De los alamos vengo, madre
I come from the poplars. Mother, from seeing how the wind sways them,
poplars of Sevilla I have come from seeing my beautiful friend.
From the
La Berg ere aux Champs
When the Shepherd comes from the Country, Gaurd the little sheep.
Ti de ra la la la She meets a handsome man. The man .looks at her.
Ti de ra la la la "Ah, let me look at you. You are so beautiful."
Ti de ra la la la "Tie your horse to this tree." Ti de ra la. la la
When he thought he could hold the pretty one, she ran away.
L'eau de Source
The water from the stream will make you die, little one. Don't
drink pure water, little one. Have some wine to make you feel
good. When a girl wants to get married, one mustn't give her
pure water- She would rather have some wine.
Ou irons-nous Garder?
Where do we go to watch our herd, pretty one? We go down by the
river. In the prairie the grass is fresh. By the flowers we
put our sheep and we make love all day long. Look at the sheep,
little one. Look at the sheep, the bees and ourselves. See the
sheep who live off the grass, and the bees who live off the flowers.
But we, little one, who love each other, we live off the joy of love.
La-bas dans le Limousin
Down in Limousin, if there are pretty girls- Ah, yes! Oh, yes!-
there are pretty girls here too. You have pretty girls in your
county- we have men who love us tenderly. Down in Limousin, so
tender are the young men. But here in Auvergne, in my county,
the men love faithfully.
Four Songs from Sclianengesang by Franz SchuLcrt
Am fleer - By The Sea
The Sea shone far out into the distance
In the last evening light;
We sat by the fisherman,' s lonely house.
We sat silent and alone.
The mists rose, the waters swelled.
The gulls flew back and forth;
From your eyes, ful of love.
The tears were falling.
I saw them fall onto your hand.
And sank upon my knees;
From your white hand
I drank the tears.
Since tliat hour my body is consumed.
My soul is dying of passion;
That hapless woman has
Poisoned me with her tears.
Standchen - Serenade
Softly through the night my songs implore you,
Come down into the still grove with me, beloved;
Slender treetops rustle and whisper in the moonlight,
Fear not, sweet one, the betrayers malicious eavesdropping.
Do you hear the nightingales calling? Ah! they are imploring you.
With the sweet music of their notes they implore you for me.
They understand the bosom's yearning, they know the pangs of love.
They can touch every tender heart with their silvery tones.
Let them move your heart also; beloved, hear me!
Trembling, I wait for you; come, bive me bliss!
Ihr Bild - Her Portrait
I stood in sombre reverie
Staring at her portrait,
And that loved countenance
Gently came to life.
Her lips were clothed
With a wondrous smile.
And, as though with tears of sorrow.
Her two eyes shone.
My tears, too, flowed
Down from my cheeks
And oh, I cannot believe it, Tliat I have lost you!
Die Taubenpost - The pigeon Post
I have a carrier pigeon in my pay.
It is so devoted and faithful;
It never fails to reach its destination.
Nor flies beyond it.
I send it forth a thousand times
Daily to carry news,
It flies past many a well-loved spot
Straight to my darling's house.
There it peeps in at the window.
Espies her glance and step.
Gaily delivers my greetings
And collects hers.
I need write no more letters,
I give it even my tears. . .
It would surely not misdeliver them.
So zealously does it serve me.
By day or by night, when awake or dreaming.
It is indifferent to all.
AS long as it can keep on journeying
It feels itself well recompensed!
It never grows tired or jaded.
Its course seems ever new to it;
It needs no inducement, no reward.
The bird is true to me!
Therefore I keep it loyally, too, in my heart.
Thus assured of the fairest prize;
It is called DESIRE... do you know it?
The true heart's messenger?
W W Uii X Lu
Francis Poulenc
Song of Orkenise
Through the gates of Orkenise a cart-pusher wants to enter. Through the gates
of Orkenise a vagabond wants to leave. And the town guards, running after the
vagabond: "What are you taking away from the town?" "I am leaving my whole
heart there." /did the town guards, running after the cart-pusher : "What are
you bringing into the town?" "My heart to be married!" So many hearts in
Orkenise! The guards laughed and laughed. Vagabond, the road is grey; love
greys the mind, 0 cart-pusher. The handsome guards of the town marched
superbly. Then the gates of the town closed slowly....
Hotel
My room is shaped like a cage/ The sun passes its arm by the window/ but I,
who want to smoke to make designs, I light my cigarette by the fire of the day/
I do not want to work/ I want to smoke .
Moors of Wallonie (Belgium)
So much overwhelming sadness seized my heart in the desolate moors when, tired,
I rested in the pine grove/ The weight of the kilometers felt heavy while the west wind
blustered/ I had left the pretty wood/ The squirrels stayed there/ My pipe tried
to make smoke clouds in a sky that remained obstinately clear/ I did not confide
any secret, except perhaps an enigmatic song to the humid peat bogs/ the
honey- flowered heather attracted the bees and my sore feet crushed myrtle and
blueberries/ Sweetly married/ North, north/ Life twists there in strong and twisted
trees/ Life bites death there/ Ravenously, ravenously/ When the wind howls.
Trip to Paris
Ah! How charming to leave a dreary place for Paris, pretty Paris, that Love must
have created once upon a time....
Sobs
Our love is ruled by the calm stars/ Thus we know that in us many men have breathed
who came from far away and join us under our brows/ This is the song of the dreamer
who tore out his heart and bore it in his right hand/ (Remember, dear pride,
all these memories/ Of sailors who sang like conquerors/ Of the chasms of Thule, of
the gentle skies of Ophir/ Of the accursed sick, of those who fled their shadow/ And
of the joyous return of the happy emigrants)/ This heart ran with blood and the
dreamer went on thinking of his delicate wound/ (You will not break the chain of
these causes)/ Which, painful, said to us/ (Which are tiie effects of other causes)/
"My poor heart, my broken heart, the same as all men's hearts/ (Here, here are our
hands which life has made slaves)/ "Is dead of love - or just about - is dead of love
and here it is"/ Thus it goes/ You, too, tear out your heart/ (And nothing will be
free until the end of time)/ Let us leave everything to the dead and hide our sobs
(Guillaume Apollinaire)
Tanglewod Music Center
TANGLE WOOD MUSIC CENTER ORCHESTRA
Third Concert
Tuesday, July 22, 1986 at 8:30 p.m.
Shed
HAYDN SYMPHONY in B-FLAT MAJOR, No. 102
Largo; Allegro vivace
Adagio
Menuetto: Allegro; Trio
Finale: Presto
Pomely Pfund, conductor
V <16 4 an, EaAt GeAmany
DEBUSSY "LA HER," THREE ORCHESTRAL SKETCHES
I. De 1'aube a midi sur la mer
(From dawn to noon on the sea)
II. Jeux de vagues
(The play of the waves)
III. Dialogue du vent et de la mer
(Dialogue of the wind and the sea)
PichaAd WeAteA field, conductor
Pound P<.dge., New VoAk
InteAmiAAion
SIBELIUS SYMPHONY NO. 2 in D, Opus 43
Allegretto; Poco alleqro
Andante ma rubato; Allegro; Andante sostenuto
Vivacissimo; Lento e soave
Allegro moderato
Leonard BeAn itein, conductoA
This program was prepared under the guidance of Leonard Bernstein.
The FAiendA of MuAi c at Tanglewood, an oAganization of muAic loveAA and
patAonA, geneAouAty AuppoAt the opeAatton of the Tanglewood MuAic CenteA. PAiendA
OAe invited to all conceAtA of, the Tanglewood MuAic CenteA with a Family Season
MembeAAhip of $60, oa an Individual SeaAon MembeAAhip of $40. OtheAA attending
each TiUC event OAe aAked to eontAibute a minimum of $5.00 at the gate, $6.00
foA oAcheAtAa conceAtA.
The Tanglewood MuAic CenteA iA alAo AuppoAted by a gAant fAom the National
Endowment foA the AaIa.
BALDWIN PIANO
Orchestra Personnel
(Hinds, Brass and percussion listed alphabetically)
First violins
Lydia Forbes
Julia Baumgartel
Caroline Wolff
Steven Miller
Elizabeth Suh
Kathy Ha id
Jennifer Moreau
Margaret Bichteler
Maile Kali
Dionisia Fernandez
Andrew Schast
Megumi Teshima
Bing Wang
Sara Parkins
Second violins
Katie Lansdale
Zhou Qian
Arie Yaacobi
Mari Kimura
James Tsao
Ling Ling Guan
Annamae Goldstein
Adriana Rosin
Mari Sone
Etsuko Tsuchida
Karen Bentley
Marta Szlubowska
Helen Hagglund
Soo-Yeon Kirn
Violas
Anna Schaum
Mercedes Leon
Rifat Qureshi
David Rubinstein
Jenny Ries
Lynn Rilling
Karen Sanders
Tomoko Suzuki
Katrina Smith
Davoren Chick
Ernest Richardson
Trihn Le Trung
Cellos
Andres Diaz
Rachel Gruber
Michael Stirling
Owen Young
Katja Linfield
Trevor Handy
Karl Parens
Steven Sigurdson
Bryndis Baldursson
Matthew Barley
Samuel Swift
Andreas Sami
Emmy Schal ing
Basses
Aldo Fabrizi
Guy Tyler
Janne Johansson
Jennifer Matteson
Jerome Butler
Henry Peyrebrune
Keith Kawazoe
Flutes
Joanna Bassett
Jacqueline DeVoe
Adam Kuenzel
Amy K. Porter
Mark Sparks
Oboes
Elizabeth Stoyanovich
Jonathan Blumenfeld
Eric Olson
Jane Rhoads
Alexa Zirbel
Clarinets
Lee Carroll
Todd Palmer
Larry Passin
Duncan Prescott
Michael Rusinek
Bassoons
Eric Beselin
Silvia Coricelli
Jon Gaarder
Timothy McGovern
Patricia Paulson
h
Horns
Tod Bowermaster
Robert Danforth
Linda DeRoche
Daniel Schulze
Ellen Tomas iewicz
William Ver Meulen
Trumpets
Anthony DiLorenzo
Patrick Kunkee
Wesley Nance
Brian Rood
Mary Weber
Trombones
Ronald Carrera
Scott Me El roy
Harold Van Schaik
Michael Zion
Tuba
Jeffery Jarvis
Percussion
Timothy Adams
David Hall
John Jutsum
Alan Megna
Robert Patterson
Scott Stirling
Harps
Mia Axon
Alice Harlow
Librarian
Thomas Harvey
Orchestra Manager
Harry Shapiro
Stage Manager
Douglas Whitaker
Program Notes
HAYDN (31 Mar. 1732 - 31 flay 1809) Symphony No. 102
Haydn's first London trip, made at the behest of the impresario Johann Peter Salomon,
had been a revelation to the 60 year old composer. Suddenly he found himself lion-
ized: ambassadors and noblemen called on him, he was sought after by the most dis-
tinguished artists of time, received Ky the king and queen, and even awarded a
doctorate by Oxford University. Moreover, the six symphonies (nos. 93 - 98) he had
composed expressly for this visit, as stipulated by Salomon, were received with
great enthusiasm; the sophisticated and exacting English audiences hailed him as
the greatest composer in the world. When Salomon arranged for a second London trip
in 1794 with an agreement for six new symphonies, it is no wonder that Haydn should
be moved to produce works of such inspiration and dramatic depth for this final
set. Everything he had learned from 40 years of experience went into them. While
there are no real departures from his previous works, everything is brought together
on a grander scale with expanded harmonies, an intensified rhythmic drive, and more
brilliant orchestration (among the special features of this second group of London
symphonies is the use of clarinets for the first time in any of his symphonies -
no. 102 is the only one of the group where they are omitted).
Despite the immense success of all twelve of these symphonies, they were the last
Haydn wrote, although he continued to write instrumental works, six symphonic masses,
and the two great oratorios. The Bb symphony, no. 102, was first performed on
2 Feb. 1795 to an enthusiastic audience, although the evening was marred by a falling
chandelier (an event mistakenly associated with the "Miracle" symphony, no. 96).
A glowing review in the "Morning Chronicle" indicated that, "The rapture it gave
cannot be communicated by words."
DEBUSSY (22 Aug. 1862 - 25 Mar. 1918) La Her
Debussy maintained that the sea had a hold on him from the age of seven, when he
was first taken to Cannes on the Mediterranean. He had already written music sug-
gesting the sea in Sirenes,and Pel leas had included sea music as well. However,
when he started La Her in the summer of 1903, he set out to write a different sort
of seascape. The orchestration is more vigorous than in his previous works and
makes use of big orchestral effects. The three movements approximate a symphony
in form and in fact it is the first time Debussy shows respect for classical pro-
portions, as though he were setting out to forge a new style opposed to the dreamy
formlessness he had sought in his earlier works. The work was completed at East-
bourne, in England, and first performed in Paris on 15 Oct. 1905. The first Amer-
ican performance was given on 1 Mar. 1907 by the Boston Symphony under Karl Muck.
Debussy afterwards made some channes in the score and the revised edition was
published in 1909.
There are a number of realistic effects in La Her such as waves crashing against
the shore, sea spray, and others, but these serve as no more than motives worked
into a large thematic scheme. Debussy once expressed a profound disdain for music
which relies heavily on a written program, his own aim being "a freedom derived not
from a more or less literal depiction of Nature, but from the mysterious corres-
pondence between Nature and Imagination." La Her then, despite the descriptive
designations provided, is not to be taken so much as a literal depiction of the sea
but rather as a series of evocations attempting to capture the essence of the sea
from the shimmer and turmoil of its surface to the mysterious depths below.
SIBELIUS (8 Dec. 1865 - 20 Sept. 1957) Symphony No. 2, Opus 43
The first performance of the Second Symphony took place in Helsinki on 8 Mar. 1902
with the composer conducting, and the work has been linked ever since with the surge
of Finnish nationalism that was sweeping the land at the time. An elaborate program
involving Finnish history, character, and the struggle for independence has been
attached, but Sibelius himself repeatedly denied that any such programmatic content
was intended. It is in this symphony that Sibelius began the full development of
his personal style. Among the most distinctive features of this style are his
characteristic use of themes and fragments of themes built on Finnish language and
speech rhythms. Themes tend to be built up from short motives that gradually
coalesce into a complete whole. Motives from one theme may be transferred to
another and recombined in such a way that the original theme is gradually trans-
formed by the replacing of its motivic units one by one until a new structure
results. Sibelius himself spoke of the process in this way: "It is as if the al-
mighty had thrown down pieces of a mosaic from Heaven's floor and asked me to put
them together." This technique of motivic expansion can be heard in the first move-
ment, written essentially in sonata form. The speech rhythms can be detected in
the trill and dropping fifth which become a prominent feature of the movement. The
slow movement is like a dramatic recitative consisting of agitated dialogue and
lyrical interludes with a modal character. The scherzo opens as a toccata on a
speech rhythm figure. The triumphant concluding chorale, ending the work on a note
of optimism, has come to be identified with Finnish patriotism, and the work is
frequently played on state occasions.
Program notes by David E. Gruender, Librarian, Tanqlewood Music Center.
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FOURTH CHAMBER MUSIC CONCERT
Wednesday, July 23, 1986 at 8:30 P.M.
Theatre Concert Hall
Prepared by Juliut Levine, Oliver Knutten, Gilbert Kalith,
Donald MacCourt, and Joel Kro-inlck
MOZART
Andante
Menuetto
Allegretto
Jenny Riel,, viola
TRIO IN E-FLAT MAJOR FOR VIOLA, CLARINET,
AND PIANO, K. 498 ("Kegelstatt")
Michael Rutlnek, clarinet
Benjamin Loeb, piano
MARTI EPSTEIN "SNOW"
Caroline. Wolfit violin Aldo Fabrlzl, bat6
Tomoko Suzuki, viola Robert Patterton , vibraphone
Samuel Swift, cello Drew Abbott, tenor
Oliver Knutten, conductor
Marti Epstein was born in 1959 and attended the University of Iowa, University
of Colorado, and Boston University. She has studied with Joyce Mekeel, Charles
Fussell, Fred Lerdahl, Betsy Jolas and Bunita Marcus and is currently a student of
Bernard Rands. She is a founder of Underground Composers, a Boston-based comp-
osers’ consortium. Marti Epstein is a Fellow in Composition at the 1986 Tanglewood
Music Center.
SMETANA PIANO TRIO IN G MINOR, Opus 15
Moderato assai
Allegro, ma non agitato - Alternative I (Andante) - Tempo I -
Alternative II (Maestoso) - Tempo I
Finale: Presto
Julia Baumg artel, violin Andrei Vlaz, cello
Erika Nlckrenz, piano
- brief) intermit 6 Ion -
CARTER
I. Maestoso
II. Quietly
III. Adagio possibile
IV. Vivace
V. Andante
VI. Allegretto leggero
VII. Intensely
VIII. Presto
Fantasy: Tempo giusto
Joanna Eatrett, flute
Jane Rhoadt, oboe
EIGHT ETUDES AND A FANTASY (1950)
Larry Pat&in, clarinet
Patricia Pauli on, baiioon
RAVEL
QUARTET IN F MAJOR
Allegro moderato
Assez vif - Tres rythme
Tres lent
Vif et agite
Katie Lansdale, violin Vavoren Chick, viola
Mall.e KaJLi, violin Rachel Gruber, cello
The Friends ofi Music cut Tanglewood, an organization oft music lovers and pat-
ron*, generously support the operation o{) the Tanglewood Music Center. Friends are
Invited to dl concerts ofi the Tanglewood Music Center with a Family Season Member-
ship ofi $60, or an Individual Season Membership ofa $40. Others attending each TMC
event are asked to contribute a minimum oj $5.00 at the gate, $6.00 fior orchestra
concerts .
The Tanglewood Music Center Is also supported by a grant firom the National
Endowment fior the Arts.
BALDWIN PIANO
"Snow" by Marti Epstein, text by Jonathan Elchman
Tomorrow morning i’ll be able to get
up and run in the snow that’s falling now
And my legs don’t hurt so much now
And most cars are resting heavily now
i measure off fifteen feet through the door
to the other room
and a black hat perched on a lamp sort of
ominous it’s snowing
i lay myself end to end over that distance
and think maybe twenty feet
to the ominous black hat snowing
listen to a story:
a man took the last train west to Chicago
only so much time to live he wanted to see
the master who lived on W. 59th and
snowing in Chicago
dripping wet and frozen he arrived at the
master's door asking to come in asking
to see the master asking and answering standing
at a locked front door
black hat brim pointing towards the floor
45° from this angle
listen again:
the master living in Chicago took the last
train east to a dying man who lived on colfax
snowing near the park not bothering to knock
he strode through the open door shaking snow
from his locks finding a kitchen at the back
of the house he sat down at a table watching the
snow rise in the back yard
the curtains are cracked by light these
cracks bear down on the hat
again the story:
the master and the dying man approach
my front door i know they want to ask why i
make obscure what is clear difficult what is
simple lead out of gold on the verge of
panic i see it’s snowing
they wear black hats
i sink back gently into my chair matching
my breathing with their knocking
everything around me turns slowly
unnoticeably to stone even the snow i
free myself bit by bit
it is snowing yes
it is it is It is
it is.
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
PHYLLIS CURTIN SEMINAR
Second Recital
Thursday, July 24, 1986 at 1:00 P.
Chamber Music Hall
FIVE GREEK FOLKSONGS
Chanson de la mariee
L^-bas, vers l'eglise
Quel galant m'est comparable
Chanson des cueilleuses de lentisques
Tout gai!
Johanna Thompson, mezzo-soprano
Jeffry Johnson, piano
SIX POEMS OF EMILY DICKINSON
Good morning. Midnight
Heart! We will forget him!
Let down the bars. Oh Death
An awful tempest mashed the air
Nobody knows this little Rose
Bee! I'm expecting you!
LuAnn Aronson, soprano
Thomas Dewey, piano
POEMES D'UN JOUR
Rencontre
Toujour s
Adieu
Reginald Bouknight, tenor
Jeffry Johnson, piano
FETES GALANTES
Les ingenus
Le faune
Colloque sentimental
Pamela Murray, mezzo-soprano
Jeffry Johnson, piano
An die feme Geliebte, opus 98
James Ruff, tenor
Michael Beattie, piano
METAMORPHOSES
Reine de mouettes
C'est ainsi que tu es
Paganini
Susan Rosenbaum, soprano
Jeffry Johnson, piano
M.
MAURICE RAVEL
JOHN DUKE
GABRIEL FAURE
CLAUDE DEBUSSY
LUDWIG VAN BEETHOVEN
FRANCOIS POULENC
Five Greek Songs: Ravel
Chanson de la Mariee
Awake, little partridge.
Open your wings to the morning.
The three beauty spots
Set my heart afire.
Look at the golden ribbon
Which I bring to you
To tie around your hair.
If you would like, my lovely.
Let us marry.
In our two families.
All are related.
La-bas, vers l'eglise
Yonder, near the church of Ayio Sidero,
The church, 0 blessed Virgin,
The church of Ayio Constandinno ,
Are reunited in infinite numbers
The most brave in all the world.
Chanson des cueilleuses de lentisques
Oh joy of my soul,
Joy of my heart, most precious to me
Treasure so dear to me.
Joy of the soul and heart.
How ardently I love you.
You, more beautiful than an angel.
Oh, when you appear, angel so sweet,
before our eyes
Like a beautiful blonde angel under
the bright sun.
Alas, all our poor hearts sigh.
Tout gai!
How gay !
Beautiful legs that dance.
Beautiful legs, the crockery dances,
Tra la la!
Quel galant m'est comparable
What gallant can compare to me.
Among those passing by?
Tell me. Mistress Vassiliki.
Look, hanging on my belt
Pistols and a sharp saber.
And it is you who I love.
Five Greek Songs: Ravel
Chanson de la Mariee
Awake, little partridge,
Open your wings to the morning.
The three beauty spots
Set my heart afire.
Look at the golden ribbon
Which I bring to you
To tie around your hair.
If you would like, my lovely.
Let us marry.
In our two families.
All are related.
La-bas, vers l'eglise
Yonder, near the church of Ayio Sidero,
The church, 0 blessed Virgin,
The church of Ayio Constandinno ,
Are reunited in infinite numbers
The most brave in all the world.
Chanson des cueilleuses de lentisques
Oh joy of my soul,
Joy of my heart, most precious to me
Treasure so dear to me.
Joy of the soul and heart ,
How ardently I love you.
You, more beautiful than an angel.
Oh, when you appear, angel so sweet,
before our eyes
Like a beautiful blonde angel under
the bright sun.
Alas, all our poor hearts sigh.
Tout gai!
How gay !
Beautiful legs that dance,
Beautiful legs, the crockery dances,
Tra la la!
Quel galant m’est comparable
What gallant can compare to me.
Among those passing by?
Tell me, Mistress Vassiliki.
Look, hanging on my belt
Pistols and a sharp saber.
And it is you who I love.
RENCONTRE
I was sad and thoughtful wheh I met you; today I feel my persistent angu-
ish lessened, 0 tell me, could it be that you are the unhoped-for woman, and the
ideal dream pursued in vain? 0 passer-by with the gentle eyes, could it be that
you are the friend who would bring happiness to the lonely poet? And wid>& you
shine on my strengthened soul like the native sky upon a heart in exile?
Your aloof sadness, like my own, loves to see the sun setting over the sea.
Your ecstasy awakens before the vastness of space, and the charm of the evenings
is dear to your lovely soul. Am mysterious and sweet sympathy already attaches
me to you like a living bond, and my soul trembles, invaded by love, and my heart
cherishes you, without knowing you well!
TOUJOURS
You ask me to be silent, to fly far from you for ever, and to go away alone
without remembering the one I loved*
Sooner ask the stars.to fall into infinity, the night to lose its veils,
the day to lose its light;
Ask the immense ocean. to fry up its vast waves, and when the winds are wild,
to calm its dismal sobbing*
But do not hope that my soul will tear itself away from its bitter sorrow,
and shed its passion like the springtime sheds its flowers.
ADIEU
How quickly everything dies, the rose in bloom, and the fresh dappled mantle
of the meadows; the long sighs, the well-beloved, are but smoke!
One sees in this fickle workd, change more quickly than the waves on the shore,
our dreams! <
More quickly than the hoar— ^p«i8t flowers, our hearts! To you one believed
one would be faithful^ cruel one, but alas, the longest loves are short! And I
say, on leaving your charms without tears, almost at the moment of my avowal,
farewell!
Charles Grandmougin
The innocents
The high heels struggled with tne long skirts so that,
according to the terrain and the wind, sometimes the calves of
legs glistened, too often spied! And we enjoyed this game of
deceit. Also, sometimes the sting of a jealous insect irritated
the necks of the pretty girls under the Doughs, and then there
were the sudden flashes of white necks. And this pleasure
delighted our young, wild eyes. The night fell, a night
reminiscent of autumn: The pretty girls, hanging dreamily on our
arms, spoke words so mysterious, in low voices, that our souls,
since that time, tremble and are astonished.
1 he fawn
An old fawn of pottery laughs in the middle of a bowling
green, undoubtedly predicting a bad sequel to these serene
moments , wh ich have driven you and me , melancholy pilgrims, to
this hour whose flight turns to the sound of the tambourines.
Sentimental Colloquy
In the old park solitary and icy, two forms have just passed
by. Their eyes are dead and their mouths are limp, and their
words are scarcely heard. In the old park solitary and icy, two
ghosts have evoked their past.
-Do you remember our past ecstasy?
-Why do you want me to be reminded of it?
-Does your heart still beat always at the mere mention of my
name? Do you still see my soul in your dreams?
-No .
-Ah, the beautiful days of indescribable joy. where we
joined our lips!
-It's possible.
-How the sky was blue, and hope grand!
-Hope fled, conquered, towards the dark sky.
Thus they walked through the wild oats, and the night alone
heard their words.
-Paul Verlaine
An die feme Geliebte
Alois Jeitteles (1794-1858)
I. On the hill I sit, staring into the blue, misty land,
looking for the distant pastures where I found you, my beloved.
I am far away from you, between us lie hill and valley,
between us and our peace, our happiness and our torment.
Ah, you cannot see my eyes searching so ardently for you,
and my sighs dispersed in the space that separates us.
Will then nothing any longer reach you,
nothing be a messenger of love?
I will sing you songs complaining of my agony!
For song effaces all space and all time,
and a loving heart attains, that to which a loving heart
consecrates itself.
II. Where the blue mountains look down from the misty gray,
where the sun ceases to glow, where the cloud encircles,
there would I be!
There in the restful valley pain and affliction are still.
Wherever among the stones silently the primrose meditates,
wherever the winds stir so lightly, there would I be!
To the dreaming forest love's power urges me on,
sickness of heart, ah, I would not stir from here if,
dear, I could be forever with you!
III. Light clouds above, and you, brooklet, small and narrow,
should my love espy you, greet her for me many thousand times.
Ye clouds, if you see her walking thoughtfully in the silent valley,
let my image arise before her in the airy hall of heaven.
Should she stand by the bushes, now withered and lifeless
in the autumn, lament to her of what has happened to me;
complain to her, little bird, of my torment!
Silent West Wind, as you drift yonder to my heart's
chosen one, bear my sighs, which die like the last rays
of the sun. Whisper to her my love's entreaty, let her,
brooklet small and narrow, truly see in your rapids
my numberless tears!
IV. These clouds above, these birds in happy passage, will see you,
my goddess. Take me with you in gentle flight!
This West Wind will drift playfully about your cheek and bosom,
blow through your silken hair. Oh that I could share this pleasure!
Away from that hill to you eagerly this brooklet hurries. If her
image should be reflected in you, flow back then without delay!
V. May comes again, the meadows are in bloom, the breezes blow so gently,
so warmly, chattering, the brooks are now running. The swallow
returns to the hospitable roof, she builds so eagerly her bridal chambe
love must dwell in it. She brings busily from all directions many a
soft piece here to the bridal bed, many a piece to warm the little ones
Now the couple live together so faithfully, what winter has parted,
May binds together; Whatever is in love, he can unite.
May comes again, the meadows are in bloom, the breezes blow so gently,
so warmly, only I cannot go away from here. Though all things in love
are united by spring, to our love alone, no spring appears,
and tears are its only reward.
VI. Take them then, beloved, these songs which I have sung to you.
Sing them again in the evening, to the sweet sound of the lute!
When the red of the twighlight moves toward the still blue lake,
and its last ray dies out over yonder mountaintop ,
and you sing what I have sung, what from my full breast
has artlessly sounded, conscious only of its longing,
then the songs will cause to yield that which has kept us
so far apart, and a loving heart attains that to which
a loving heart consecrates itself.
Reine de mouttes (Queen of Seagulls)
Oueen of the seagulls, my little orphan
I saw you blush, I remember
Under the muslin veils of your ancient grief
Blushing, because you loved the kiss that chagrined.
You let yourself harmonize with my hands
Under the muslin veils, sails of our bond
Blush, b 1 ush ,
My kiss understands you
Seagull captured at the meeting of great paths
Queen of the seagulls, my little orphan
You blushed, harmonized with my hands
Blushing under the muslin
And I remember . . .
C 1 est a i ns ? que tu es (That is thus what you are)
Your body
Melded with soul
Tang led hair
Your foot pursues time
Your shadow, which stretches and murmurs at my temples . . .
Voila, that is your portrait
That is thus what you are
And I wanted to write it to you
So that when the night comes
You can believe and say
Tha t I knew you we 1 1
Pagan i n i
Viol in,
Seahorse and siren,
Cradle of hearts, heart and cradle,
Tears of Mary Magdalene
Sigh of a queen
Echo
Viol in,
Pride of nimble hands,
Departure on horseback over waters,
Love astride mystery,
Thief in prayer,
Bird
Viol in,
Morganatic woman,
Puss- i n-boots stalking the forest,
Well of lunatic truths,
Public confessiom,
Corset
Viol in,
Alcohol of the soul in pain,
Preferred muscle of the evening,
shoulders of sudden seasons,
Oak leaf,
M i r ror
Viol in,
Knight of s i 1 ences ,
Toy escaped from happiness,
Bosom of a million presences,
Ship of pleasure,
Hunter
FIFTH CHAMBER MUSIC CONCERT
Sunday, July 27, 1986 at 10:00 A.M.
Theatre Concert Hall
Prepared by Vehudl IfJyner, Gillent Kalish, and Eugene Lehner
W.F. BACH DUET IN F MAJOR
Allegro e moderato
Lamentabile (Lamentevole)
Presto
Jacqueline VeVoe and Amy K. Porter, flutists
MOZART
Largo; Allegro moderate
Larghetto
Rondo
Erie Olson , oboe
Todd Palmer, clarinet
QUINTET in E-FLAT MAJOR FOR PIANO AND
WIND INSTRUMENTS, K. 452
Silvia Coricelli, bassoon
Elizabeth Tomasiewicz, horn
Mlchal Tal, piano
BARTOK
QUARTET FOR STRINGS NO. 3.(1927)
Moderato - Allegro - Moderate - Allegro mol to
Elizabeth Suh, violin Jenny Pies, viola
CaJioline Wolff, violin Samuel Swift, cello
BRAHMS QUINTET 4n F MINOR FOR PIANO AND STRINGS, Opus 34
Allegro non troppo
Andante, un poco adagio
Scherzo: Allegro
Finale: Poco sostenuto - Allegro non troppo
Etsuko TAuchlda, violin Anna Schaum , viola
Want Kimura, violin Michael Stinting, cello
Vanlel Shapiro, piano
The Friends of Music at Tanglmood, an organization of muAlc lovers and
patrons, generously support the operation of the Tang l mood Music Center. Friends
are Invited to all concerts of the Tanglewood Music Center with a Family Season
Membership of $60, or an Individual Season Membership of $40. Others attending
each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for
orchestra concerts.
The Tanglmood Music Center Is also supported by a grant from the Motional
Endowment for the Arts.
BALDWIN PIANO
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrlch, Head Vocal Coach
THIRD CONCERT
Sunday, July 27, 1986 at 8:30 P.M.
Chamber Music Hall
MELODIES DE VENISE, Opus 58 (Verlaine)
Mandoline
En sourdine
Green
A Clymfene
C'est 1 'extase
Salvatone Champagne., te.no a
MaAgaAct KampmeteA, piano
AN DIE FERNE GELIEBTE, Opus 98
Jame& tenoA
Michael Beattie, piano
TROIS FABLES DE JEAN DE LA FONTAINE
Le corbeau et le renard
La cigale et la fourmi
Le loup et 1 'agneau
RogeA SayloA, baAitone
Maago GaAAett, piano
InteAmi&tion
SIETE CANCIONES POPULARES ESPANOLAS
El pano moruno
Seguidilla murciana
Asturiana
Jota
Nana
CanciOn
Polo
GABRIEL FAURE
LUDWIG VAN BEETHOVEN
ANDRE CAPLET
MANUEL DE FALLA
Lila Atrmoni, , mezzo -4>opAano
VenniA HelmAich, piano
A t-
,u
r
Melodies de Venise, by Faurg
Mandol ine
Translations
The serenaders and the beautiful ladies who listen to them exchange pleasantries be-
neath the murmuring branches. Here's Tircis and Aminta, the eternal Clitander, and
Damis, who addressed many a tender verse to many a heartless dame. Their short
silken jackets, their long trailing dresses, their elegance and joy, and their soft
blue shadows whirl in the ecstatic light cast by a pink and grey moon. And the
mandolin chatters amidst the shivers of the breeze.
En sourdine
Let us give ourselves to calm love in the sylvan twilight. Rapt senses, heart, soul -
all mirror the deep silence, the vague languor here beneath the pines and evergreens.
Half close your eyes and cross your arms upon your breast. From your still heart,
banish forever all forethought. Be soothed by the sweet airs that ripple through the
reddish grass and play about your feet. And when the solemn evening falls from the
black oaks listen for the voice of our despair, the nightingale.
Green
Mere are fruits, flowers, leaves, and branches. Here my heart that beats for you
alone. ' 'Don 't tear it with your two white hands; and may I, your servant, be pleasing
in your sight. I came quite covered still by dew, chilled on my forehead by the
morning wind. Suffer that I rest myself at your feet and dream of the precious
moments that will restore my vigour. Suffer that my head rest on your youthful
breast, fresh from your last kisses, and that it lie still after the fine rage; and
suffer me to sleep a little when you rest.
A ClyrnSne
Strange barcarolles, songs without words! DBarest, since your sky-blue eyes, and your
strange voice come as a vision to cloud the horizon of good sense, and the noble
candour of your swan whiteness and fragrance, your whole being indeed, come with the
power of music, of the haloes of antique angels, of phrases and perfumes, to invade
my subtle heart with soothing cadences - so be it.
C'est 1 'extase
Here js the ecstasy of languor, the fatigue of love! Here are the woods a-shudder
in the breezes' arms! Here, beneath the grey branches, the chorus of tiny voices.
Oh, that frail fresh murmur, a-warble and a-whisper with the sweet sound of troubled
grass! Or you might say, perhaps, we overheard the muffled movement of the pebbles
in a water-course. It is a soul that laments, that cries out in its sleep. It is
ours, don't you think - mine and yours? And, through the mild evening, it rises like
an unpretentious anthem.
An die feme Geliebte, by Beethoven (Alois Jeitteles (1794-1858)
I. On the hill I sit, staring into the blue, misty land,
looking for the distant pastures where I found you, my beloved.
I am far away from you, between us lie hill and valley,
between us and our peace, our happiness and our torment.
Ah, you cannot see my eyes searching so ardently for you,
and my sighs dispersed in the space that separates us.
ill then nothing any longer reach you,
nothing be a messenger of love?
I will sing you songs complaining of my agony!
ror song effaces all space and all time,
and a loving heart attains, that to which a loving heart
consecrates itself.
II. Where the blue mountains look down from the misty gray,
where the sun ceases to glow, where the cloud encircles,
there would I be!
There in the restful valley pain and affliction are still.
Wherever among the stones silently the primrose meditates,
wherever the winds stir so lightly, there would I be!
To the dreaming forest love's power urges me on,
sickness of heart, ah, I would not stir from here if,
dear, I could be forever with you!
III. Light clouds above, and you, brooklet, small and narrow,
should my love espy you, greet her for me many thousand times.
Ye clouds, if you see her walking thoughtfully in the silent valley,
let my image arise before her in the airy hall of heaven.
Should she stand by the bushes, now withered and lifeless
in the autumn, lament to her of what has happened to me;
complain to her, little bird, of my torment!
Silent West Wind, as you drift yonder to my heart's
i hosen one, bear my sighs, which die like the last rays
of the sun. Whisper to her my love's entreaty, let her,
brooklet small and narrow, truly see in your rapids
my numberless tears!
«>
-2-
IV. These clouds above, these birds in happy passage, will see you,
my goddess. Take me with you in gentle flight!
This West Wind will drift playfully about your cheek and bosom,
blow through your silken hair. Oh that I could share this pleasure!
Away from that hill to you eagerly this brooklet hurries. If her
image should be reflected in you, flow back then without delay!
V. May comes again, the meadows are in bloom, the breezes blow so gently,
so warmly, chattering, the brooks are now running. The swallow
returns to the hospitable roof, she builds so eagerly her bridal chamber--
love must dwell in it. She brings busily from all directions many a
soft piece here to the bridal bed, many a piece to warm the little ones.
Now the couple live together so faithfully, what winter has parted.
May binds together; Whatever is in love, he can unite.
May comes again, the meadows are in bloom, the breezes blow so gently,
so warmly, only I cannot go away from here. Though all things in love
are united by spring, to our love alone, no spring appears,
and tears are its only reward.
VI. Take them then, beloved, these songs which I have sung to you.
Sing them again in the evening, to the sweet sound of the lute!
When the red of the twilight moves toward the still blue lake,
and its last ray dies out over yonder mountaintop,
and you sing what I have sung, what from my full breast
has artlessly sounded, conscious only of its longing,
then the songs will cause to yield that which has kept us
so far apart, and a loving heart attains that to which
a loving heart consecrates itself.
Trois fables de Jean de la Fontaine, by Caplet
Le Corbeau et le Renard (The Crow and the La Cigale et la Fourmi (The grasshopper
Fox) and the ant)
Master crow perched in a tree
Holding in his beak a piece of cheese
Master fox, allured by the odor,
drew near and offered this speech
"(He!.) Hello master crow.'
You are jolly! You seem to me to be
beautiful too.
Tell me the truth. Does your warbling
correspond to your plumage?
You are the phoenix, the host of these
woods . "
At these words the crow didn't feel very
happy;
And to show his beautiful voice he opened
his large beak, and dropped his prized
cheese.
The fox seized it and said:
"My good master, learn that all flattery
is at the cost of he who listens:
This lesson is well worth a piece of
cheese, without doubt. Lah, ah, ah, ah!
The crow, ashamed and confused, swore
that a little later he would take it
back.
Le Loup et 1 'Aqneau (The wolf and the lamb)
The reason the strong always win
lie'll demonstrate presently.
A lamb quenched her thirst in the stream
of a pure sea.
A wolf unexpectedly arrived, on an empty
stomch, looking for adventure, and
by his hunger drawn to this place.
"Who returns so boldly to disturb my
drinking water?" said the animal full
of rage:
"You shall be punished for your rashness."
"Sire" responded the lamb, "that your
majesty will not place his rage on me:
But rather consider that I go to quench
my thirst in the stream more than twenty
steps under you;
only by coincidence that could happen to
anyone,
I will not disturb your water."
"You disturb it!" responded this cruel
beast,
"and I know that you spoke slander against
me last year. "
"How could I have done that, I was not
yet born?" responded the lamb;
"My mother is still nursing me."
"If it wasn't you, it was one of your
brothers . "
"I 'm an only child."
"Then it was one of your kind; because
you don't spare me much, you, your
shepherds and your dogs.
Listen to me, the drime I will avenge."
Through the forest the wolf carried him
and then ate him. . .
Without further ado.
The grasshopped had sung all summer,
yet ended up destitute
when the north wind arrived.
Not one little morsel of fly or of grub.
She, crying starvation, went to the
house of her neighbor the ant,
begging of htm some seed to subsist on
until the new season.
"I will pay you" she said, "Before the
change of the season on my animal's
oath, interest and principal."
The ant is not given to lending:
This is his little defect.
"What did you do in hot weather?"
She said to the borrower.
"Night and day, ceaselessly, I sang;
may it please you."
"You sang! Well good for you. Now
dance!"
-3-
Siete canciones populares espanolas, by de Falla
El Pano moruno (The Moorish Cloth)
On the delicate fabric in the shop
there fell a stain;
for a lower price it sells
because it lost its value. Ay!
Seguidllla Murciana (Seguidilla of Murcia)
Whoever has a glass roof
should not throw stones at his neighbor's.
Mule drivers are we,
perhaps on the road
we shall meet.
Because of your inconstancy
I compare you,
I compare you because of your Inconstancy,
I compare you
to a peseta that passes from hand to
hand;
that finally becomes so rubbed down,
that believing it false,
no one will take it.
Asturiana
To see If I could be consoled
I sought comfort of a green pine tree;
seeing me weep, it wept too.
And the pine tree, since it was green,
seeing me weep, weot too.
Jota
They say we don't love each other
because they never see us talking;
but of your heart and mine
they have only to ask.
Now I bid you farewell,
your house and your window too,
even though your mother may not like it,
farewell, little girl, until tomorrow.
Lullaby
Sleep, little baby, sleep,
sleep, rny soul ,
sleep, little star
of the morning.
Nanita, nana,
nanita nana.
Sleep, little star
of the morning.
Cancion (Song)
Because they are traitors, your eyes,
I will bury them;
you don't know how painful it is,
"From heaven," little one, to look at
them.
"Mother, from their edge" -
little one, to look at them.
"Mother. "
They say you don't love me,
yet once you did love me!
Gone is my love!
"From heaven," it is lost.
"Mother, from their edge!" It is lost.
"Mother! "
Polo
I am hiding an "ay" -
I am hiding a pain in my breast,
Ay!
That to no one will I reveal!
Cursed love, cursed!
Ay!
And the one who taught it to me!
Ay!
TknglewGDd Music Center
TANGLEWOOD MUSIC CENTER ORCHESTRA
Fourth Concert r ,
Monday, July 28, 1986 at 8:30 p.m.
Theatre Concert Hall
SCHUBERT SYMPHONY NO. 2 in B-FLAT MAJOR, D. 125
Largo - Allegro vivace
Andante - Variationen I-V
Menuetto. Allegro vivace
Presto vivace
Richard Hoe.vu.ch, conductor
Montreal, Canada.
Intermission
RACHMANINOFF SYMPHONY NO. 2 in E MINOR, OPUS 27
Largo; Allegro moderato
Allegro mol to
Adagio
Allegro vivace
icon Fleisher, conductor
This program was prepared under the guidance of Leon Fleisher
and Gustav Meier.
The Friends of Music at Tanglewood, an organization of, music lovers and
patrons, generously support the operation of the Tanglewood Music Center. Friend*
are invited to all concert* of the Tanglewood Music Center with a Family Sea*on
Membership of $60, or an Individual Season Membership of $40. Others attending
each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for
orchestra concerts.
The Tanglewood Music Center is also supported by a grant from the National
Endowment for the Arts.
BALDWIN PIANO
(Winds,
First violins
Adriana Rosin
Karen Bentley
Etsuko Tsuchida
James Tsao
Mari Kimura
Annamae Goldstein
Zhou Qian
Mari Sone
Marta Szlubowska
Soo-Yeon Kim
Helen Hagai und
Katie Lansdale
Ling Ling Guan
Arie Yaacobi
Second violins
Dionisia Fernandez
Kathy Ha id
Jennifer Moreau
Maile Kali
Andrew Schast
Margaret Bichteler
Megumi Teshima
Bing Wang
Sara Parkins
Steven Miller
Caroline Wolff
Julia Baumgartel
Elizabeth Suh
Lydia Forbes
Violas
Tomoko Suzuki
David Rubinstein
Trinh Le Trung
Lynn Rilling
Katrina Smith
Rifat Qureshi
Ernest Richardson
Jenny Ries
Anna Schaum
Mercedes Leon
Karen Sanders
Cavoren Chick
Orchestra Personnel
brass and percussion listed
Cellos
Matthew Barley
Andreas Sami
Bryndis Baldursson
Steven Sigurdson
Rachel Gruber
Samuel Swift
Michael Stirling
Trevor Handy
Karl Parens
Owen Young
Katja Linfield
Andres Diaz
Basses
Guy Tyler
Janne Johansson
Henry Peyrebrune
Keith Kawazoe
Jennifer Matteson
Aldo Fabrizi
Jerome Butler
Flutes
Joanna Bassett
Jacqueline DeVoe
Adam Kuenzel
Amy K. Porter
Mark Sparks
Oboes
Elizabeth Stoyanovich
Jonathan Blumenfeld
Eric Olson
Jane Rhoads
Alexa Zirbel
Clarinets
Lfee Carroll
Todd Palmer
Larry Passin
Duncan Prescott
Michael Rusinek
Bassoons
Eric Beselin
Silvia Coricelli
Jon Gaarder
Timothy McGovern
Patricia Paulson
alphabetically)
Horns
Tod Bowermaster
Robert Danforth
Linda DeRoche
Daniel Schulze
Ellen Tomas iewicz
William Ver Meulen
Trumpets
Anthony Di Lorenzo
Patrick Kunkee
Wesley Nance
Brian Rood
Mary Weber
Trombones
Ronald Carrera
Scott McElroy
Harold Van Schaik
Michael Zion
Tuba
Jeffery Jarvis
Percussion
Timothy Adams
David Hall
John Jutsum
Alan Megna
Robert Patterson
Scott Stirling
Harps
Mia Axon
Alice Harlow
Librarian
Thomas Harvey
Orchestra Manager
Harry Shapiro
Stage Manager
Douglas Whitaker
f
Program Motes
SCHUBERT (31 Jan. 1797 - 19 Nov. 1828) Symphony Mo. 2, D. 125
Schubert is the only one of the so-called Viennese Masters who was actually native
to that city. He grew up in humble surroundings but towards the end of 1808 he was
accepted as a choir boy in the court chapel, which carried with it automatic admis-
sion to the Imperial and Royal Seminary. This seminary was an elite boarding school
of about 130, a mixture of grammar school and university students. It was the young
university stadent, Josef von Spaun, who was to become a lifelong friends of Schu-
bert's, who formed a student orchestra a short time before, and by the time Schubert
arrived on the scene the standard was quite good. Schubert made an impression as a
violinist and was quickly moved up from the seconds to leader of the firsts. The
orchestra played a wide ranging repertoire, including symphonies by Haydn and Mozart,
and the first two of Beethoven. All of this served to widen the young composer's
musical experience and mastery of orchestral technique; moreover, he was designated
to lead the group in the absence of the regular conductor. Formal instruction in
music was compulsory for all choristers at the school and Schubert's progress was so
rapid that the court music director, Antonio Salieri, assumed personal supervision
of his training. When Schubert's voice changed (a diary entry after the performance
of.a mass reads" "Schubert, Franz, crowed for the last time, 26 July 1812.") it
spelled the approaching end of his seminary years. At the end of 1313 he left the
seminary and, at the behest of his schoolmaster father, entered a training school
for elementary teachers. In 1815, after qualifying as a schoolmaster himself, Schu-
bert gave a half-hearted attempt at teaching, but soon gave up all pretence of such
a career. Perhaps in compensation, that same year of 1815 became the "miraculous
year" in which he produced more than in any other year of his life. The Second
Symphony was completed during this year along with the Third and over 150 songs, a-
ffiong other things.
The Second is perhaps the most impressive of the early symphonies. It was started
on 10 Dec. 1814 and finished on 24 Mar. 1815. The first performance was most likely
by an amateur orchestra group meeting at the home of Otto Hatwig, a violinist at the
Burg Theater, who conducted the group for two years; Schubert was very likely a
member of the viola section at this time. Some influence of Beethoven can be de-
tected, especially in the first movement and in the use of strong, biting accents.
The second movement is the only instance of a theme and variations in any Schubert
symphony and, as in the Trout Quintet, none of the variations wanders very far from
the theme. The fourth variation turns to the relative minor and anticipates the
weight and energy of the coming minuet, in turn reminiscent of Haydn. The finale
features Schubert's favorite dactylic rhythm.
RACHMANINOFF (1 Apr. 1873 - 28 Mar. 1943) Symphony No. 2, Op. 27
Sergei Rachmaninoff was the fifth of six children born into an aristocratic land-
owning family in declining fortunes. At the age of nine his parents separated,
the estate was sold and he entered the St. Petersburg Conservatory as a piano stud-
ent. Three years later, in 1885, he transferred to the Moscow Conservatory where
he soon developed into an outstanding pianist and brilliant improviser. Tchaikovsky
was so impressed by the young prodigy that he used his influence to get him into the
special composition course where he studied with Arensky and Taneyev. In 1892 Rach-
maninoff won the gold medal for composition at the conservatory and embarked on a
concert tour of Russia, the precursor of a remarkably successful career. The
Second Symphony, dedicated to Taneyev, was composed in Dresden where Rachmaninoff
had moved with his family in late 1906 in order to devote himself to composition
while taking a break from touring and concertizing. (He was as much in demand as
a conductor as he was as a pianist at that time. He was even invited to become
conductor of the Boston Symphony in 1910, an offer which he declined.)
The Second Symphony was first performed in St. Petersburg in 1908, the composer con-
ducting. The theme stated by the cellos and basses at the very beginning of the
symphony serves as a unifying agent for the whole work. It appears in accompani
ments, transition passages and as counterpoint to other thematic material through-
out the work. This motto theme is also broken into smaller motives which can be
added to, thus providing the germ for developing new themes. An example of this
process appears after the initial statement in the lower strings, when the wood-
winds echo its second and third notes and the violins develop and extend its last
five. The use of material from previous movements is yet another unifying device;
the development section of the last movement draws material from all three preceding
movements. The well known melody that serves as the main theme of the third move-
ment can be recognized as a variation of the second theme of the first movement.
Because of its length, the symphony is often cut, as in tonight's performance.
Most of these cuts have become standard and were sanctioned by the composer.
Program notes by David E. Gruender, Librarian, Tanglewood Music Center.
'
2
'
References
furnished on
request ^
Aspen Music Festival
Burt Bacharach
David Bar-Man
Leonard Bernstein
Bolcom and Morris
Jorge Bolet
Boston Pops Orchestra
Boston Symphony Orchestra
Brevard Music Center
Dave Brubeck
David Buechner
Chicago Symphony Orchestra
Cincinnati May Festival
Cincinnati Symphony Orchestra
Aaron Copland
Denver Symphony Orchestra
Ferrante and Teicher
Natalie Hinderas
Interlochen Arts Academy and
National Music Camp
Billy Joel
Gilbert Kalish
Ruth Laredo
Liberace
Panayis Lyras
Marian McPartland
Zubin Mehta
Metropolitan Opera
Mitchell-Ruff Duo
Seiji Ozawa
Philadelphia Orchestra
Andre Previn
Ravinia Festival
Santiago Rodriguez
George Shearing
Abbey Simon
Georg Solti
Tanglewood Music Center
Michael Tilson Thomas
Beveridge Webster
Earl Wild
John Williams
Wolf Trap Foundation for
the Performing Arts
Yehudi Wyner
Over 200 others
Baldwin
Contemporary Music
at Tanglewood
Every year the Tanglewood Music Center
sponsors an intensive week of contempo-
rary music, a term taken to include some of
the established classics of our century, but
far more the recent work of both young
and established composers. As in the past,
the Festival of Contemporary Music aims
to represent different approaches to music,
to be generally inclusive in its approach
with no claim to be comprehensive. (In-
deed, given the number of composers ac-
tively at work all over the world today, no
single week's concerts, however full, has
any hope of comprehensiveness.)
The programs have been chosen by a
committee of musicians under the leader-
ship of Oliver Knussen; each program aims
to include a number of works in styles that
offer interesting contrasts. The works by
young European composers, for example,
almost all show some kind of American
influence; at the same time, music by some
senior American composers (George Perle,
Gunther Schuller) maintains important
European influences. No numerical test has
been applied to determine the relative pro-
portion of American versus non-American
work (Knussen says "I loathe musical jin-
goism"), but there is perhaps a balance, for
purposes of comparison, between young
American and young European composers.
As is customary, this year's Festival offers
a glimpse at current or recent work by com-
posers who were once at Tanglewood as
Fellows in Composition: Bainbridge, Drat-
tell, Knussen, Lloyd, Neikrug, Thorne,
Torke. It also pays homage to senior mas-
ters as they reach numerically significant
birthdays: Milton Babbitt, on his 70th birth-
day; Henri Dutilleux on his 70th; Hans
Werner Henze on his 60th; Morton
Feldman on his 60th.
While individual compositions may be
perceived to fall into a category represent-
ed by one or another of the recent musical
buzzwords — minimalism, serialism, the
new romanticism — the program as a
whole has no tendentious aim, unless it be
to suggest that pigeonholing composers by
means of a one-word description has less
validity today than ever before. Today's
musical creators are drawing on extremely
varied sources that make an impact on
them, fusing them into a personal state-
ment that differs from all of the sources that
went into it. Since the end of World War II,
the word "eclecticism" has been bandied
about pejoratively between representa-
tives of armed camps in the musical world.
Today it is becoming respectable again.
Drawing upon a wide range of sources did
not destroy the personal quality in the
music of Handel, Mozart, or Stravinsky, to
name three notably eclectic composers of
the past; there is no reason why it need do
so today. Knussen likes to talk of a "mean-
ingful eclecticism," a totally personal ab-
sorption of elements from many different
kinds of music into a single stream that
represents the power of one composer's
musical imagination. FCM '86 celebrates
that imaginative fusion.
— Steven Ledbetter
Musicologist and Program Annotator
Boston Symphony Orchestra
References
furnished on
request
Aspen Music Festival
Burt Bacharach
David Bar-Illan
Leonard Bernstein
Bolcom and Morris
Jorge Bolet
Boston Pops Orchestra
Boston Symphony Orchestra
Brevard Music Center
Dave Brubeck
David Buechner
Chicago Symphony Orchestra
Cincinnati May Festival
Cincinnati Symphony Orchestra
Aaron Copland
Denver Symphony Orchestra
Ferrante and Teicher
Natalie Hinderas
Interlochen Arts Academy and
National Music Camp
Billy Joel
Gilbert Kalish
Ruth Laredo
Liberace
Panayis Lyras
Marian McPartland
Zubin Mehta
Metropolitan Opera
Mitchell -Ruff Duo
Seiji Ozawa
Philadelphia Orchestra
Andre Previn
Ravinia Festival
Santiago Rodriguez
George Shearing
Abbey Simon
Georg Solti
Tanglewood Music Center
Michael Tilson Thomas
Beveridge Webster
Earl Wild
John Williams
Wolf Trap Foundation for
the Performing Arts
Yehudi Wyner
Over 200 others
Baldwin
Contemporary Music
at Tanglewood
Every year the Tanglewood Music Center
sponsors an intensive week of contempo-
rary music, a term taken to include some of
the established classics of our century, but
far more the recent work of both young
and established composers. As in the past,
the Festival of Contemporary Music aims
to represent different approaches to music,
to be generally inclusive in its approach
with no claim to be comprehensive. (In-
deed, given the number of composers ac-
tively at work all over the world today, no
single week's concerts, however full, has
any hope of comprehensiveness.)
The programs have been chosen by a
committee of musicians under the leader-
ship of Oliver Knussen; each program aims
to include a number of works in styles that
offer interesting contrasts. The works by
young European composers, for example,
almost all show some kind of American
influence; at the same time, music by some
senior American composers (George Perle,
Gunther Schuller) maintains important
European influences. No numerical test has
been applied to determine the relative pro-
portion of American versus non-American
work (Knussen says "I loathe musical jin-
goism"), but there is perhaps a balance, for
purposes of comparison, between young
American and young European composers.
As is customary, this year's Festival offers
a glimpse at current or recent work by com-
posers who were once at Tanglewood as
Fellows in Composition: Bainbridge, Drat-
tell, Knussen, Lloyd, Neikrug, Thorne,
Torke. It also pays homage to senior mas-
ters as they reach numerically significant
birthdays: Milton Babbitt, on his 70th birth-
day; Henri Dutilleux on his 70th; Hans
Werner Henze on his 60th; Morton
Feldman on his 60th.
While individual compositions may be
perceived to fall into a category represent-
ed by one or another of the recent musical
buzzwords — minimalism, serialism, the
new romanticism — the program as a
whole has no tendentious aim, unless it be
to suggest that pigeonholing composers by
means of a one-word description has less
validity today than ever before. Today's
musical creators are drawing on extremely
varied sources that make an impact on
them, fusing them into a personal state-
ment that differs from all of the sources that
went into it. Since the end of World War II,
the word "eclecticism" has been bandied
about pejoratively between representa-
tives of armed camps in the musical world.
Today it is becoming respectable again.
Drawing upon a wide range of sources did
not destroy the personal quality in the
music of Handel, Mozart, or Stravinsky, to
name three notably eclectic composers of
the past; there is no reason why it need do
so today. Knussen likes to talk of a "mean-
ingful eclecticism," a totally personal ab-
sorption of elements from many different
kinds of music into a single stream that
represents the power of one composer's
musical imagination. FCM '86 celebrates
that imaginative fusion.
— Steven Ledbetter
Musicologist and Program Annotator
Boston Symphony Orchestra
Contemporary Music
at Tanglewood
Tanglewced
Music
Center
ALEA III
Theodore Anton iou. Music Director
1986-87 Season
Boston University: September 27
Kucyna International Composition Prize
Concert (free)
Longy School of Music: October 17
ALEA Commissions and a Surprise' Joan
Heller. Soprano. Edwin Barker. Contrabass
Boston University: December 1
"SOLOISTS". Judith Kellock. Soprano: The
Paratore Brothers. Piano Duo
I-ongy School of Music: March 28
"PERCUSSION & SOLOISTS"
Tickets: $5 (S3 for students and senior citizens) All
3 concerts for only $10!
Boston University: February 19
Composers' Workshop (free and open lo the
public)
Boston University: May 1 & 2
An Evening of Contemporary Opera - John
Goodman. The Garden of Flowers (world
prem.) Hans Werner Henze. The Tedious
Way to the Place of Natascha Ungeheuer
Tickets $8 1$4 students and senior citizens )
To return to this very special place, where
some sixteen years ago I first became
aware of so many ideas and ideals — not to
mention people — which profoundly influ-
enced the direction of my own musical
life, has been an immense pleasure and
honour; I have yet to encounter another
place where such a heady and intensive
confrontation of the technical, practical,
and spiritual aspects of music occurs. Cer-
tainly the exposure of young, gifted perform-
ers to such a concentration of new music
as the Festival of Contemporary Music pre-
sents each year remains to my knowledge
quite unique and, if necessarily danger-
fraught — the mind-boggling scheduling
problems posed and somehow solved an-
nually by James Whitaker — ultimately can
provide an irreplaceable practical crash-
course in how to deal with unfamiliar and
often very taxing new scores. A few sum-
mers here in the early 1970s, under the
inspirational guidance of my teacher,
Gunther Schuller, opened my eyes to those
problems and potential solutions in ways
that I shall never forget.
The search for music that will provide
rewarding and varied experience for the
Fellows of the Tanglewood Music Center
is, then, one major consideration in the
choice of programs for the present Festival;
happily, quite a few former composition
Fellows of theTMC are represented by their
work as well. Aside from these "local" con-
cerns, and the request that the content of
recent years' Festivals not be duplicated,
the planner today is on his/her own: the
pendulum-swings of stylistic fashion have
accelerated so bewilderingly over the past
decade-and-a-half that a central "Main-
stream" can no longer either provide back-
ground or provoke meaningful reaction
in this or any other contemporary music
festival.
What I have tried to accomplish with
these programmes (armed with suggestions
and help from my co-workers) is simply to
construct varied and illuminating contrasts
of approach, colour, and "weight," draw-
ing on recent work from several genera-
tions of composers on both sides of the
Atlantic and beyond — more than thirty
works in the Festival date from after 1975 —
celebrating, if you like, the peaceful co-
existence of such diverse and lively musi-
cal types as can be found today working at
the highest levels of technical excellence.
Whether these juxtapositions will, as I
hope, begin to build up an image of the
onset of an age of meaningful synthesis
and cross-fertilisation (which is, by the
way, my own view of how the wind is
blowing) or whether they remain merely
interesting objects placed next to each
other willy-nilly is a question for each indi-
vidual listener to consider.
The representation of trans-Atlantic in-
fluence in both directions has been a con-
scious programming factor; the bringing
together of seemingly incompatible con-
temporaries; works by young composers
which seem to me to be bound for near-
"classic" status in new music; and so forth.
No survey, however notional, of music
now can ignore the huge strides that have
been made in electronic and computer
music studios. Tapes thrown into "live"
concerts are, it seems to me, always at a
disadvantage, hence our separation of
them into "Preludes" which, I hope, will
relate also to the more general concerns of
this Festival.
It is a special pleasure to welcome Toru
Takemitsu to Tanglewood in this context:
there is perhaps no other single creative
figure alive who demonstrates so graphi-
cally what an integration of culture, styles,
and spiritual approaches can achieve when
forged through a unique poetic sensibility.
It remains to thank everyone who has
contributed to making this Festival pos-
sible: in particular Daniel Gustin, Richard
Ortner, and Karen Leopardi of theTMC for
their initiative and incalculable practical
assistance of all kinds; Leon Fleisher and
Gilbert Kalish, who have provided the best
moral and musical support one could wish
for; and all those, in fact, without whom
these programs would remain ideas on
paper.
— Oliver Knussen
Composer-in-Residence
Tanglewood Music Center
I
G. SCIIIRMER
salutes
OLIVER KNUSSEN
Composer- in -Residence
1986 Tanglewood Festival of Contemporary Music
Oliver Knussen has been in the forefront of the younger generation of British com-
posers since 1968 when, at the age of sixteen, he astonished the musical world by
conducting the premiere of his First Symphony with the London Symphony Orchestra.
The enthusiastic critical reaction was echoed in New York two weeks later when
Knussen again led the LSO at Carnegie Hall. The Saturday Review noted that the
composer had “not only... the facility to manipulate a variety of contemporary idioms,
but also the. ..depth of understanding to relate them to the broad panorama of
symphonic logic.”
Knussen’s music has proven extremely popular with audiences as well as critics, and
has been championed by conductors Andre Previn and Michael Tilson Thomas and
flutist James Galway among others. His recent operatic collaboration with Maurice
Sendak, Where the Wild Things Are, was the hit of the 1984 New York Philharmonic
Horizons Festival.
Knussen has served as composer-in-residence at the Aspen Festival (1976) and guest
conductor at Tanglewood (1981). In 1986 Knussen is composer-in-residence at
Tanglewood; his Coursing receives its American premiere at the Festival of Con-
temporary Music.
Selected Works by Oliver Knussen:
(* — Available on Rental)
CHAMBER
Ocean de Terre, op. 10
S; mixed ens (F0583) $19.00
Ophelia Dances, Bk. I, op. 13
9 instruments (F0665) $19.75
ORCHESTRAL
Concerto for Orchestra, op. 5*
Coursing, op. 1 7 *
Full Score (F0790) $16.75
Symphony No. 2, op. 7*
Full Score (F0747) $19.50
Symphony No. 3, op. 18*
VOCAL
Rosary Songs, op. 9
S; cl,vla;pno (F0540) $17.00
Trumpets, op. 12
S; 3 cl (F0541 ) $12.50
OPERA
Higglcty Piggletv Pop!, op.21 *
S,S,MS,T,Bar,Bs-bar,Bs bar; orch
Where the Wild Things Are, op. 20 *
S,MS,MS,T,Bar,Bs-bar,B; orch
The works of Oliver Knussen are published by Faber Music, London,
and are available in the United States through G. Shirmer, New York.
Gall toll-free (800-221-4755) for rental information.
1986 Festival of Contemporary Music
Saturday, 2 August at 2 p.m.
Theatre-Concert Hall, Tanglewood
FELLOWS OF THE TANGLEWOOD MUSIC CENTER
OLIVER KNUSSEN
(b.1 952)
Fanfares for Tanglewood (1986)*
OLIVER KNUSSEN
Cours/ng(1979)t
GUSTAVMEIER, conductor
YEHUDI WYNER
(b.1 929)
On this most voluptuous night, Five songs
for soprano and chamber ensemble on texts
by William Carlos Williams (1982)
I. On this most voluptuous night
II. The end of the parade
III. The Artist
IV. Learning with age to sleep
V. Calypsos
ANNE DeVRIES RICHARDSON, soprano
INTERMISSION
GUNTHERSCHULLER
(b.1925)
Concerto da Camera (1971 )
OLIVER KNUSSEN, conductor
SIMON BAINBRIDGE
(b.1 952)
Concertante in moto perpetuo (1983)
ALEXAZIRBEL, oboe
MARK GIBSON, conductor
ELLIOTT CARTER
(b.1908)
Pent/iode(1985)
OLIVER KNUSSEN, conductor
*first performance
tU.S. premiere
Baldwin piano
1986 Festival of Contemporary Music
Sunday, 3 August at 10 a. m.
Theatre-Concert Hall, Tanglewood
FELLOWS OF THE TANGLEWOOD MUSIC CENTER
JONATHAN LLOYD
(b.1 948)
Feuding Fiddles (1986)t
MARTA SZLUBOWSKA, violin
SARA PARKINS, violin
BENIAMIN BRITTEN
(1913-1976)
StringQuartet No. 3, Opus94 (1975)
I. Duets
II. Ostinato
III. Solo
IV. Burlesque
V. Recitative and Passacaglia
(La Serenissima)
THE CASSATT QUARTET
ADELA PENA, violin
LAURAJEAN GOLDBERG, violin
EUFROSINA RAILEANU, viola
ANNACHOLAKIAN, cello
INTERMISSION
TORUTAKEMITSU
(b.1 930)
Rocking Mirror Daybreaki 1 983)
I. Autumn
II. Passing Bird
III. In the Shadow
IV. Rocking Mirror
MARI SONE, violin
ADRIANA ROSIN, violin
ARNOLDSCHOENBERG
(1874-1951)
Suite, Opus 29 (1926)
Ouverture
Tanzschritte
Thema mit Variationen
Gigue
tU.S. premiere
Baldwin piano
1986 Festival of Contemporary Music
Sunday, 3 August at 8:30 p.m.
Theatre-Concert Hall, Tanglewood
FELLOWS OF THE TANGLEWOOD MUSIC CENTER
MORTON FELDMAN§
(b.1 926)
Piece for Four Pianos (1957)
CAROLARCHER, BENJAMIN LOEB,
ERIKA NICKRENZ, and MICHALTAL, pianos
GEORGE PERLE
(b.1 91 5)
Woodwind Quintet No. 4 (1985)
Invention
Scherzo
Pastorale
Finale
HANSABRAHAMSEN
(b.1 952)
Marchenbilder (1984)
Allegro con movimento
Andantealla marcia
Scherzo prestissimo
CARL ST. CLAIR, conductor
INTERMISSION
DEBORAH DRATTELL
(b.1 954)
DoubleConcertoforviolin, cello,
and chamber ensemble (1986)*
Molto espressivo
Mysterioso, andante cantabile
Appassionato
STEVEN MILLER, violin
KARL PARENS, cello
ROMELY PFUND, conductor
LOUIS AN DRI ESSEN
(b.1 939)
Symphony for Open Strings (1 978)t
RICHARD WESTERFIELD, conductor
*first performance
tU.S. premiere
§commemorating the composer's 60th birthday
Baldwin piano
1986 Festival of Contemporary Music
Electro-Acoustic Prelude
Monday, 4 August at 7:30 p.m.
Chamber Music Hall
PAUL LANSKY Idle Chatter
(realized at Columbia/Princeton Studio)
JAMES DASHOW In Winter Shine
(realized at MIT, Cambridge)
JONATHAN HARVEY Mortuos Plango, Vivos Voco
(realized at IRCAM, Paris)
GM RECORDINGS
y Collage, Sequoia String Quartet, John Swallow, Richard
Todd, Michael Bocian, Frederick Moyer, Higher Primates,
Robert Dick, Departed Feathers, Christopher O'Riley, Beverly
Morgan, Louis Krasner, New England Ragtime Ensemble,
Harvey Phillips and others.
Recordings
1986 Festival of Contemporary Music
Monday, 4 August at 8:30 p.m.
Theatre-Concert Hall, Tanglewood
FELLOWS OF THE TANGLEWOOD MUSIC CENTER
MARC NEIKRUG
(b.1 946)
Mobile (1981 )+
OLIVER KNUSSEN, conductor
TORUTAKEMITSU Water-Ways (1977)
(b.1 930)
NICHOLASTHORNE
(b.1 953)
Chaconne: Passion of the Heart (1983)
LEON FLEISHER, conductor
INTERMISSION
ALAN STOUT
(b.1 932)
Cinq Visages de LaForgue (1971 -77)*
Dolce cantabile
Lentissimo
Misterioso
Lentissimo
Lento
ALICIA CORDELL, soprano
RICHARD HOENICH, conductor
HANS WERNER HENZE§
(b. 1 926)
Fandango sopra un basso del Padre Soler ( 1 985)t
TANGLEWOOD MUSIC CENTER ORCHESTRA
OLIVER KNUSSEN, conductor
*first performance
tU.S. premiere
§commemorating the composer's 60th birthday
Baldwin piano
1986 Festival of Contemporary Music
Electro-Acoustic Prelude
Tuesday, 5 August at 7:30 p.m.
Chamber Music Hall
)AY ALAN YIM Shiosai
(realized atCCRMA, Stanford)
JEAN-CLAUDE RISSET Songes
(realized at IRCAM, Paris)
MILTON BABBITT §
Occasional Variations
(realized at Columbia/Princeton Studio)
§commemorating the composer's 70th birthday
ELLIOTT
CARTER
RECENT WORKS BY ELLIOTT CARTER
STRING QUARTET NO. 4 ( 1986)
To be premiered by Composers String Quar
September 17, 1986 at Festival Miami
PENTHODE (1985)
5 Groups of 4 Instrumentalists
ESPRIT RUDE/ESPRIT DOUX (1984)
Flute and Clarinet
RICONOSCENZA (1984)
Violin
CANON FOR 4 (1984)
Flute, Bass Clarinet, Violin and Violoncello
CHANGES (1983)
Guitar
TRIPLE DUO (1983)
Flute, Clarinet, Percussion, Piano, Violin,
Violoncello
IN SLEEP. IN THUNDER (1981)
Tenor and 14 Instrumentalists
For further information contact:
HENDON MUSIC
DOo^ey^mWKEo
Boosey A Hawkes Inc.
24 West 57th Street New York NY 10019
Telephone (212) 757-3332
1986 Festival of Contemporary Music
Tuesday, 5 August at 8:30 p.m.
Theatre-Concert Hall, Tanglewood
JUILLIARD STRING QUARTET
Robert Mann, violin
Joel Smirnoff, violin
Samuel Rhodes, viola
Joel Krosnick, cello
IRVING FINE
(1914-1962)
String Quartet(1952)
Allegro risoluto
Lento
HENRI DUTILLEUX§
(b.1 91 6)
Ainsila Nuit(1976)
I. Nocturne
II. Miroird'Espace
III. Litanies
IV. Litanies 2
V. Constellations
VI. Nocturne 2
VII. Temps suspendu
INTERMISSION
BELA BARTOK
(1881-1945)
StringQuartet No. 5 (1934)
Allegro
Adagio molto
Scherzo. Alla bulgarese (Vivace)
Andante
Finale. Allegro vivace
§commemorating the composer's 70th birthday
The residency of the Juilliard String Quartet at the Tanglewood Music Center this summer
is made possible in part by income from the Louis Krasner Fund.
CONIEMTORARY MUSIC
THE BOSTON SYMPHONY
TANGLEWOOD 1986
schott and
UNIVERSAL EDITION
Tubiishers of
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Paul Hindemith
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Toru Takemitsu
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1986 Festival of Contemporary Music
Wednesday, 6 August at 8:30 p.m.
Theatre-Concert Hall, Tanglewood
TANGLEWOOD MUSIC CENTER ORCHESTRA
OLIVER KNUSSEN, conductor
MICHAELTORKE Ecstatic Orange (1985)
(b.1 961 )
ROBERT SAXTON Concerto for Orchestra (1984)+
(b.1953)
INTERMISSION
TORUTAKEMITSU Dream/Window ( 1985)+
(b.1 930)
POUL RUDERS Manhattan Abstraction (1982)t
(b.1 949)
Baldwin piano
tU.S. premiere
Photo: Marcel Prins
1986 Festival of Contemporary Music
Electro-Acoustic Prelude
Thursday, 7 August at 7:30 p.m.
Chamber Music Hall
RICKTAUBE Jubjub
(realized atCCRMA, Stanford)
CHARLES DODGE The Waves
(realized at MIT, Cambridge)
MILTON BABBIT§ Ensembles
(realized at Columbia/Princeton Studio)
commemorating the composer's 70th birthday
‘ Jean-Luc Ponty *
Steve Reich & Musicians
Internationally Acclaimed Soloists
Pre-Concert Recitals
International Composers Forum
Works and discussion by five young composers
Discounts on Late-Night Cabarets
A spectacular event you can't afford to miss— at a
price that says "Be there!" .
Reserved seat ticket for all 4 days, only
Student and senior citizen tickets, $25
Seats are assigned on a first-come, first-served basis.
Student accommodations are available.
For a free brochure and ticket information, call:
(412) 391-5531
Presented by The Pittsburgh New Music Ensemble, Inc.
NM-98058
1986 Festival of Contemporary Music
Thursday, 7 August at 8:30 p.m.
Theatre-Concert Hall, Tanglewood
JOSEPH SILVERSTEIN, violin
PETER SERKIN, piano
IGOR STRAVINSKY
(1882-1971)
Duo Concertant( 1932)
Cantilene
Eclogue 1
Eclogue II
Gigue
Dithyrambe
STEFAN WOLPE
(1902-1972)
Piece in two parts for violin alone (1964)
OLIVIER MESSIAEN
(b.1 908)
Canteyodjaya (1948)
INTERMISSION
TORUTAKEMITSU
(b.1 930)
From Far Beyond Chrysanthemums
and November Fog, for viol i n
and piano(1983)
STEFAN WOLPE
Sonata for violin and piano(1949)
Un poco allegro
Andante appassionato
Lento — Scherzo vivo
Allegretto deciso
Peter Serkin plays the Steinway piano
Music
Center
New Endowment Funds
For support of the instructional
& performance program:
The Honorable & Mrs. John H. Fitzpatrick
The Louis Krasner Fund
Mrs. A. Werk Cook
Peter H. B. Frelinghuysen
Edward Shufro Fund
William and Juliana Thompson
Carl A. Weyerhaeuser 1966 Trust
Surdna Foundation Master Teacher Fund
Anonymous (2)
Guarantor Fellowships
Anonymous
BayBanks
Leonard Bernstein
Clowes Fund
Charles E. Culpeper Foundation
Dr. John H Knowles Memorial
Fernand Gillet Memorial
Marie Gillet
Reader’s Digest
Seiji Ozawa
Albert and Elizabeth Nickerson
Peggy Rockefeller
Morris A. Schapiro
Fellowships
Frederic and Juliette Brandi
Brookline Youth Concerts Awards Committee
Marion Callanan Memorial
Rosamond Sturgis Brooks
Tappan Dixey Memorial
Haskell and Ina Gordon
Philip and Bernice Krupp
Robert McClellan/IBM Matching
William and Lia Poorvu
5 0 t
Additions to existing funds
Alfred E. Chase Foundation
Mrs. Maria Cole
Mrs. Lester S. Morse
Mr. & Mrs. David R. Pokross
Theodore Edson Parker Foundation
Thorndike Family
Contributions to the General Endowment
Frank Stanley Beveridge Foundation
Eleanor Naylor Dana Charitable Trust
Gordon P. Getty
Gilbert Kaplan
Mr. & Mrs. Philip Krupp
Mrs. R. E. Lee
Estate of Harry Shulman
Mary H. Smith
John H Stookey
Anonymous (2)
We gratefully acknowledge these generous gifts to
the endowment of the Tanglewood Music Center,
which allow us to continue to bring the best young
musicians to Tanglewood and to offer them tuition-
free Fellowships.
David Rockefeller, Jr.
Peter M. Flanigan
Co-Chairmen
Scholarships
William E. Crofut Family
Claire and Millard Pryor
Tanglewood Music Center
1986 Fellowship Program
Violins
Julia Baumgartel, White Rock, British Columbia
Gerald Gelbloom Memorial Fellowship
Karen Bentley, Palo Alto, California
Luke B. Hancock Foundation Fellowship
Margaret Bichteler, Austin, Texas
Harriet B. Harris Memorial Fellowship
Dionisia Fernandez, Upper Saddle River,
New Jersey
Leonard Bernstein Fellowship
Lydia Forbes, Cambridge, Massachusetts
Frederic and luliette Brandi Fellowship
Annamae Goldstein, Blauvelt, New York
Philip and Bernice Krupp Fellowship
Ling Ling Guan, Beijing, China
lane and William Ryan Fellowship &
Idah L. Salzman Fellowship
Helena Hagglund, Vasteras, Sweden
Jenifer House Fellowship
Kathy Haid, Union, New Jersey
Geraldine R. Dodge Foundation Fellowship
Maile Kali, Tucson, Arizona
Leo Panasevich Fellowship
Soo-Yeon Kim, Seoul, Korea
Boris A. and Katherine E. lackson Fellowship
Mari Kimura, Tokyo, Japan
Brookline Youth Concerts Awards Committee
Fellowship
Katie Lansdale, Bethesda, Maryland
Country Curtains Fellowship
Steve Miller, New York, New York
Morris A. Schapiro Fellowship
Jennifer Moreau, Christchurch, New Zealand
Stanley Chappie Fellowship
Sara Parkins, San Francisco, California
Northern California Fund Fellowship
Zhou Qian, Hang Zhou, China
Bradley Fellowship
Adriana Rosin, Bucharest, Romania
Haskell R. and Ina Gordon Fellowship
Andrew Schast, Philadelphia, Pennsylvania
Edward john Noble Foundation Fellowship
Mari Sone, Tokyo, Japan
C.D. lackson Fellowship
Elizabeth Suh, Overland Park, Kansas
Carole K. Newman Shared Fellowship &
Sigma Alpha lota Philanthropies Inc.
Fellowship
Marta Szlubowska, Warsaw, Poland
Alice Kandell Fellowship
Megumi Teshima, Saitama, Japan
Lucy Lowell Fellowship
James Tsao, Culver City, California
Boston Symphony Orchestra Fellowship
EtsukoTsuchida, Tokyo, Japan
Tanglewood Association Fellowship
Bing Wang, Shanghai, China
Dorothy and Montgomery Crane Fellowship
Caroline Wolff, New York, New York
Surdna Foundation Fellowship
ArieYaacobi, Hadar, Israel
Koussevitzky Music Foundation Fellowship
in memory of Margaret Grant
Violas
Davoren Chick, Acton, Massachusetts
General Cinema Corporation Fellowship
Mercedes Leon, New York, New York
Anonymous Fellowship
Rifat Qureshi, Don Mills, Ontario
Marion Callanan Memorial Fellowship
Ernest Richardson, Phoenix, Arizona
Berkshire County Savings Bank Fellowship &
Florence and Leonard Kandell Fellowship
Jenny Ries, Kensington, Maryland
Israel Kalish Memorial Fellowship
Lynn Rilling, Salt Lake City, Utah
General Electric Plastics Fellowship
David Rubinstein, Lansdale, Pennsylvania
Claire and Millard Pryor Fellowship
Karen Sanders, San Diego, California
Stephen and Persis Morris Fellowship
Anna Schaum, Atlanta, Georgia
Mr. and Mrs. Robert E. Remis Fellowship
Katrina Smith, Chesterton, Indiana
lames A. Macdonald Foundation Fellowship
Tomoko Suzuki, Toyko, Japan
Harry and Mildred Remis Fellowship
Trung LeTrinh, Houston, Texas
Albert L. and Elizabeth P. Nickerson Fellowship
Cellos
Bryndis Baldursson, Kentville, Nova Scotia
Leo L. Beranek Fellowship
Matthew Barley, London, England
Leonard Bernstein Fellowship
Andres Diaz, Santiago, Chile
Omar Del Carlo Tanglewood Fellowship
Rachel Gruber, Cleveland Heights, Ohio
Naomi and Philip Kruvant Fellowship
Trevor Handy, Belmont, Massachusetts
Baybanks Fellowship
Katja Linfield, Stony Brook, New York
Dr. Marshall N. Fulton Memorial Fellowship
Karl Parens, Wynnewood, Pennsylvania
Mr. and Mrs. Thomas H.P Whitney Fellowship
Andreas Sami, Fuellinsdorf, Switzerland
Mr. and Mrs. David B. Arnold , lr. Fellowship
Emma Schaling, Newton Centre, Massachusetts
C D. lackson Fellowship
Steven Sigurdson, Western Springs, Illinois
luliet Esselborn Geier Memorial Fellowship
Michael Stirling, London, England
British Broadcasting Corporation Fellowship
Samuel Swift, Lansing, Michigan
Ruth S. Morse Fellowship
Owen Young, Pittsburgh, Pennsylvania
Joseph and Lillian Miller Fellowship
Basses
Jerome Butler, Sarasota, Florida
Hodgkinson Fellowship
Aldo Fabrizi, Norwood, Massachusetts
Berkshire Life Insurance Co. and Hilton Inn
Fellowship
Janne Johansson, Gothenberg, Sweden
Lia and William Poorvu Fellowship
Keith Kawazoe, Soquel, California
Koussevitzky Music Foundation Fellowship
Jennifer Matteson, Canton, New York
Cecil 5. Mapes Memorial Fellowship &
Dr. and Mrs. Alexander B. Russell Fellowship
Henry Peyrebrune, Delmar, New York
Harry and Mildred Remis Fellowship
Guy Tyler, Burlington, Massachusetts
Alfred E. Chase Fellowship
Flutes
Joanna Bassett, Ann Arbor, Michigan
The Dillon Fund Fellowship
Jacqueline DeVoe, Lansdale, Pennsylvania
Frederick W. Richmond Foundation
Fellowship
Adam Kuenzel, Charleston, South Carolina
Irma Fisher Mann Fellowship
Amy Porter, Wilmington, Delaware
Miriam Ann Kenner Memorial Fellowship
Mark Sparks, San Antonio, Texas
Rosamund Sturgis Brooks Memorial
Fellowship
Oboes
Elizabeth Baker Stoyanovich, Ann Arbor,
Michigan
Augustus Thorndike Fellowship
Jonathan Blumenfeld, Philadelphia,
Pennsylvania
Brownie and Gil Cohen Fellowship
Eric Olson, Pennington, New Jersey
Fernand Gillet Memorial Fellowship
Jane Rhoads, Winter Park, Florida
Anna Gray Sweeney Noe Fellowship
Alexa Zirbel, Janesville, Wisconsin
Katherine H. Metcalf Fellowship &
Mr. and Mrs. Kenneth Warner Pfleger
Memorial Fellowship
Clarinets
Virginia Lee Carroll, Greenwood, Mississippi
Julius and Eleanor Kass Fellowship
Todd Palmer, Hagerstown, Maryland
Herbert and Jeanine Coyne Fellowship
Larry Passin, Fort Wayne, Indiana
The Clowes Fund Fellowship
Duncan Prescott, Reading, England
English Speaking Union Fellowship
Michael Rusinek, Thornhill, Ontario
J.P. and Mary Barger Fellowship
Bassoons
Eric Beselin, Stockholm, Sweden
Sara Ann Leinbach and Lilian Norton
Fellowship
Silvia Coricelli, New York, New York
Olivetti Foundation Fellowship
Jon Gaarder, Madison, Wisconsin
Charles and Sara Goldberg Charitable Trust
Fellowship
Timothy McGovern, Newark, Delaware
Robert C. McClellan, Jr. and IBM Matching
Grant Fellowship
Patricia Paulson, Boise, Idaho
Archie Peace Memorial Fellowship
Horns
Tod Bowermaster, Ottawa, Illinois
Betty O. and Richard S. Burdick Fellowship
Robert Danforth, Grand Rapids, Michigan
David R. and Muriel K. Pokross Fellowship
Linda DeRoche, Rehobeth, Massachusetts
Theodore Edson Parker Foundation Fellowship
Daniel Schulze, New Canaan, Connecticut
Frelinghuysen Foundation Fellowship
Ellen Tomasiewicz, New York, New York
Surdna Foundation Fellowship
William Ver Meulen, Lake Forest, Illinois
Karl Burak Memorial Fellowship
Trumpets
Anthony Di Lorenzo, Stoughton, Massachusetts
Armando A. Chitalla Fellowship
Patrick Kunkee, Goleta, California
Empire Brass Fellowship
Wesley Nance, Lakewood, California
Robert and Sally King Fellowship
Brian Rood, Ann Arbor, Michigan
Caroline Crosvenor Congdon Memorial
Fellowship
Mary Weber, St. Louis, Missouri
Leonard Bernstein Fellowship
Trombones
Ron Carrera, Sacramento, California
Dynatech Fellowship
Scott McElroy, Ann Arbor, Michigan
Arthur Fiedler/Leo Wasserman Fellowship
Harold Van Schaik, Dallas, Texas
Esther Engel Salzman Fellowship &
Frieda and Samuel Strassler Fellowship
Michael Zion, Newark, Ohio
Daphne Brooks Prout Fellowship
Tuba
Jeffrey Jarvis, East Lansing, Michigan
Boston Showcase Co. Fellowship
Percussion
Timothy Adams, Covington, Georgia
Nat Cole Memorial Fellowship
David Hall, Concord, Massachusetts
Red Lion Inn Fellowship
John Jutsum, Astoria, New York
Stuart FTaupt Fellowship
Alan Megna, Pottsville, Pennsylvania
Anonymous Fellowship
Robert Patterson, Perkinsville, Vermont
Abby and Joe Nathan Fellowship
Scott Stirling, Pittsburgh, Pennsylvania
Donald Bellamy Sinclair Memorial Fellowship
Harps
Mia Axon, Ann Arbor, Michigan
John and Susanne Grandin Fellowship
Alice Harlow, Garden City, Michigan
Kathleen Flail Banks Fellowship
Keyboard
Carol Archer, Shaker Heights, Ohio
The Hon. and Mrs. Peter LB. Lavan Fellowship
Kevin Kenner, Coronado, California
Mr. and Mrs. Vincent J. Lesunaitis Fellowship
Benjamin Loeb, Dallas, Texas
William F. Rubush Memorial Fellowship
Erika Nickrenz, New York, New York
Peggy Rockefeller Fellowship
Saiko Sasaki, Saitama, Japan
Felicia Montealegre Bernstein Fellowship
Daniel Shapiro, Corono del Mar, California
R. Amory Thorndike Fellowship
Michal Tal, Tel Aviv, Israel
Mr. and Mrs. Edwin A. Jaffe Fellowship
Conductors
Mark Gibson, Minneapolis, Minnesota
Leonard Bernstein Fellowship
Richard Hoenich, Montreal, Quebec
H. Eugene and Ruth Jones Fellowship
Romely Pfund, Dessau, East Germany
Seiji Ozawa Fellowship
Richard Westerfield, Pound Ridge, New York
The William and Mary Greve Foundation
Fellowship
Vocal Fellows
Drew Abbott, Marietta, Georgia
WCRB Fellowship in honor of Sarah Caldwell
Amy Clark Aliapoulios, Jamaica Plain,
Massachusetts
Bessie Pappas Fellowship
Lila Ammons, Worthington, Ohio
Leonard Bernstein Fellowship
Dennis Bender, Ontario, Canada
Alice Tully Fellowship
Salvatore Champagne, New York, New York
Tappan Dixey Memorial Fellowship
Alicia Cordell, Tucson, Arizona
Francis and Caryn Powers Fellowship
William Cotten, Brookline, Massachusetts
Seven Hills Fellowship
Walter Dixon, Culver City, California
Mrs. Harris Fahnestock Fellowship
Anne DeVries Richardson, Phoenix, Arizona
Mildred H. Leinbach Fellowship
Roger Saylor, New York, New York
Hannah and Raymond Schneider Fellowship
Darnelle Scarbrough, Dorchester, Massachusetts
Harry Stedman Fellowship
Allison Swenson, Santa Rosa, California
C.D. lackson Fellowship
Vocal Coaches
Michael Beattie, Waltham, Massachusetts
Lilian and Lester Radio Fellowship &
Hugh Cecil Sangster Memorial Fellowship
Thomas Dewey, Sellersburg, Indiana
Stokes Fellowship
Kenneth Crigg, Winston-Salem, North Carolina
Baldwin Piano and Organ Co. Fellowship
Jeffry Johnson, Kansas City, Missouri
Marie Gillet Fellowship
Margaret Kampmeier, Rochester, New York
Miriam E. Silcox Fellowship
Composers
Jeffrey Bitzer, New York, New York
Reader's Digest Fellowship
Dana Brayton, Jamaica Plain, Massachusetts
Margaret T. and Bruce R. Gelin Fellowship
Marti Epstein, Allston, Massachusetts
ludith and Stewart Colton Fellowship &
Claudette Sorel/Mu Phi Epsilon Fellowship
Michael Gandolfi, Melrose, Massachusetts
Margaret Lee Crofts Fellowship
Detlev Glanert, Aumuhle, West Germany
Boston Symphony Orchestra Fellowship
Harue Kunieda, Tokyo, Japan
Tanglewood Association Fellowship
ParamVir, Delhi, India
Margaret Lee Crofts Fellowship
Andrew Vores, Hants, England
Koussevitzky Music Foundation Fellowship
Jay Yim, Cambridge, Massachusetts
Aaron and Abby Schroeder Fellowship
Chamber Ensemble Residency
Cassatt Quartet, New York, New York
Laurajean Goldberg, violin
Edward john Noble Foundation Fellowship
Adela Pena, violin
Helene R. and Norman Cahners Fellowship
Eufrosina Raileanu, viola
C.D. lackson Fellowship
Anna Cholakian, cello
Charles E. Culpeper Foundation Fellowship
Other Participants
Seminar for Conductors
Justin Brown, Haywards Heath, England
Leonard Bernstein Scholarship
Inge Fabricius, Copenhagen, Denmark
Edward H. Michaelson Scholarship
Arthur Post, New York, New York
William and Mary Greve Foundation
Scholarship
Wing SieYip, Kowloon, Hong Kong
Koussevitzky Memorial Scholarship
Phyllis Curtin Seminar for Singers
Anne McMillan, Forest Hills, New York
Mead Specialty Paper Scholarship
Teri Medley, Fairfax, Virginia
William E. Crofut Family Scholarship
Anna Moser, Stockdorf, West Germany
Barbara Lee/ Raymond Lee Foundation
Scholarship
Barbara Nunes, West Warwick, Rhode Island
Anonymous Scholarship
James Ruff, San Diego, California
Mr. and Mrs. lames S. Deely Scholarship
Johanna Thompson, Houston, Texas
Mr. and Mrs. Macy Rogovin Scholarship
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of equipment by the Avedis Zildjian Co., Norwell, Massachusetts.
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RICHARD WILSON'S
STRING QUARTET NO. 3
some critical response
A work of substance and expressivity... [it]
ments a place in the active repertory.
—Nezv York Times
Highly wrought and clearly focused... striking
and individual music.
—The Financial Tunes
Harmonious beauty and musical integrity.
—Tlie St rad
Enriched with an austere beauty and emotional
intensity: the highlight of the program
—Omaha World-Herald
Impeccably crafted. —Music & Musicians
Astringent, taut, extremely well crafted.
—The Baltimore Sun
Recorded by
The Muir Quartet
on CRI SD-526.
Just released.
RECENT ADDITIONS TO OUR
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Program Notes
Saturday, August 2, 1986
Oliver Knussen: Fanfares
Tod Bowenrrmten, Robent Vanfionth, Linda VeRoche, Daniel Schulze,
Ellen Toma&ieuicz, William VenMeulen, honvn
Anthony DiLonenzo , Patnick Kunkee, Wesley Nancy, Many Weben, tnumpeti
Ronald Cannena, Scott McElnoy, Michael Zion, Hanold UanSchaik, tnombonte
Jeffieny Janvii, tuba
Scott Stinting, Robent Pattemon, David Hall, pencuition
Oliver Knussen: Coursing
Elizabeth Suh, violin
Jamei Tiao, violin
Katnina Smith, viola
Rachel Gnuben, cello
Guy Tylen , bait
John Jut&um, pencuaion
Vaniel Shapino, piano
Gustav
Adam Kuenzel, i lute
Elizabeth Stoyanovich, oboe
Lanny Pa&iin, claninet
Patnicia Pauli on, baaoon
Robent Dan^onth, honn
Many Weben, tnumpet
Scott McElnoy, tnombone
, conducton
(Stuart) Oliver Knussen was born in Glasgow, Scotland, on 12 June 1952 and lives in
London; he is this summer’s Composer-in-Residence at Tanglewood. Knussen grew up in
a highly musical family; Oliver (or Oily, as just about everyone calls hims) began
composing at the age of six. He studied privately with John Lambert and attended the
Purcell School. He proved to be the most precocious British composer since Britten.
A brief appearance in a television program about the Lond Symphony Orchestra, in
which his father was then principal bass, led to the commissioning of his First
Symphony. The premiere created something of a stir when the fifteen-year-old composer
conducted the work himself.
He was thus established as composer even before coming to Tanglewood for the first
time, as a composition fellow, in 1970 (he has since returned on many occasions as a
visiting composer). Knussen's teacher at Tanglewood was Gunther Schuller, who en-
couraged his desire to work on more exploratory, smaller pieces after having made his
first splash in the spotlight, which - as they both recognized - could easily dis-
courage future risk-taking. Knussen also absorbed from Schuller the ideals and
generosity of spirit that have led to his current busy schedule in England as spokes-
man for and promoter of other composers' music. He conducts frequently, claiming
modestly that he does so to support his own composing. But in doing so he regularly
offers opportunities to hear the best new music through his performances with the BBC
Symphony or the London Sinfonietta, virtually the only large ensembles in England
to pay sustained, serious attention to contemporary orchestral music.
Knussen now recognizes his Second Symphony, for chamber orchestra and soprano, using
texts by Georg Trakl and Sylvia Plath as “my first really characteristic thing." It
has a special connection here, since it was first performed under Gunther Schuller's
direction at Tanglewood in August 1971 and was awarded the Margaret Grant Composition
Prize that summer. He has since composed a Third Symphony (performed by the TMC
Orchestra a few seasons ago and by the Boston Symphony Orchestra in 1985).
He composed the Fanfares for Tanglewood just this week to open the 1986 Festival of
Contemporary Music.
Coursing was commissioned by the London Sinfdnietta with funds provided by the Arts
Council of Great Britain, and was first performed in April 1979 under Simon Rattle.
The work receives its American premiere at this performance. The composer provided
the following commentary for the recording by the London Sinfonietta:
"Coursing" was composed between July 1978 and April 1979, and revised early in
1981. It is dedicated to Elliott Carter, in admiration, for his 70th birthday. The
title is intended to suggest at once energy, fluidity and speed: the initial impetus
toward the character of the music was a sight of the rapids at Niagara Falls - that
is, the immense contained force of the water, despite its surface smoothness, just
before it plunges downwards (a leaf dropped onto the rapids is swept away and over
the edge almost before the eye can register the movement).
"What courses through this piece are numerous versions of the long unison melody
heard at the beginning. This jagged, ricocheting line, which requires considerable
ensemble virtuosity, is present in one form or another throughout, and all the
different tempi and harmonic types employed can be simply related back to it."
Yehudi Wyner: On this most voluptuous night
Soo-Veon Kim, violin Monk Spanks, filute
Dioni&ia Fennandez, violin William VenMeulen, honn
Jenny Rite, viola Kevin Kennen, piano
Kant Panens, cello Anne DeVnite Richand&on, Aopnano
Yehudi Wyner was born in Calgary, Alberta, on 1 June 1929 and lives in New York. He
studied at Juilliard, Yale, and Harvard with Richard Donovan, Hindemith, and Piston.
He spent several years at the American Academy in Rome, then joined the faculty of
the Yale School of Music, where he served as chairman of composition from 1969 to
1973. He has been a member of the Tanglewood staff since 1976. In 1978 he became
-2-
dean of music at the State University of New York at Purchase, where he is currently '
Professor of Music. Active as composer, pianist, and conductor, he has been the
keyboard player of the Bach Aria Group and director of the New Haven Opera Society.
His works range from neo-classical instrumental pieces to a substantial repertory of
choral compositions intended for the Jewish liturgy.
On this most voluptuous night of the year
the term of the moon is yellow with no
light
the air's soft, the night bird has
only one note, the cherry tree in bloom
On this most voluptuous night
(from Paterson, Book Two)
makes a blur on the woods, its perfume
no more than half guessed moves in the
mind.
No insect is yet awake, leaves are few.
In the arching trees there is no sleep.
The blood is still and indifferent, the face
does not ache nor sweat soil nor the
mouth thirst. Now love might enjoy its play
and nothing disturb the full octave of its run.
Her belly her belly is like a white cloud a
white cloud at evening before the shuddering night!
The End of the Parade (1943)
The sentence undulates,
raising no song;
it is too old, the
words of it are falling
apart. Only percussion
notes continue
with weakening
emphasis what was once
all honeyed sounds
full of sweet breath.
Learning with age to sleep my life away
(from Paterson, Book Five, conclusion)
— learning with age to sleep my life away
saying
The measure intervenes, to measure is
all we know*
a choice among the measures
the measured dance
"unless the scent of a rose
startle us anew"
The Artist (1953)
Mr. T.
bareheaded
in a soiled undershirt
his hair standing out
on all sides
stood on his toes
heels together
arms gracefully
for the moment
curled above his head!
Then he whirled about
bounded
into the air
and with an entrechat
perfectly achieved
completed the figure.
My mother
Equally laughable
is to assume to know nothing, a
chess game
massively, "materially," compounded!
Yo ho! ta ho!
We know nothing and can know nothing
but
the dance, to dance to a measure
contrapuntally ,
Satyrically, the tragic foot.
Puerto Rico Song (1957)
Well, God is
love ,
so love me.
God
is love , so
love me . God
taken by surprise
where she sat
in her invalid's chair
was left speechless.
’Bravo!" she cried at last
and clapped her hand.
The man’s wife
came from the kitchen:
"What goes on here?" she said.
is
love , so love
me well.
Love , the sun
comes
up in
the morning,
and
But the show was over, in
the evening -
zippe, zappe!-
it goes.
The Song Cycle On this most voluptuous nigh_t was composed in 1982 to celebrate the
tenth season of the Santa Fe Chamber Music Festival. The terms of the Commission
stated that the music be set to the work of an American poet and also defined the
instrumentation by telling me which players would be available for the premiere.
After a series of false starts, I was persuaded to have a further look at the work of
William Carlos Williams, a poet whose writing had interested me vety little in the
past. Reading again, this time a wide-ranging mixture of prose, fantasy, interpretive
history, epic poetry and short lyrics, I began to respond to patches here and there,
to be attracted to the vernacular, somewhat flat rhythms, to the immediacy of
Williams ' struggle to embody (not merely represent) the experience of everyday life.
And once I began to understand what Williams was after I found his work sounding
-3
deeper and deeper resonances in my own experience, in my own search for the ex-
pression of the texture of life.
Williams, a practicing neighborhood pediatrician all his life, was daily confronted
with concrete, inescapable reality in his medical work as well as in his unglamorous
place of residence (he lived all his life in Rutherford, N.J.). For him the trans-
forming, transcending force was the imagination which had the power to define a
place or to characterize a situation so truly, so exactly and with such measured
choice of language, that the local would be elevated to the universal. With this
reliance on the local went a confidence in the vitality of american, as contrasted
with continental, speech. We had to start anew he said, we had to listen to how
people around us expressed themselves, we had to find poetical forms and measures
appropriate to the expression of our local experiences, our unique and particular
histories.
Three of the poems I chose appeared originally in the New Yorker magazine. The
surface ease of the poems belies the toughness and manifold meaning one can sense
after close reading. The End of the Parade is about writing a poem, about creativity
in general, about a parade, about growing old. The Artist, describing a real inci-
dent in Williams' life, embodies the notion that "art,” "performance,” and appreci-
ation can be found anywhere, indeed must be anywhere if the texture of life is to be
enlivened. "Art” is also fragile, fugitive and in large measure, spontaneous.
Puerto Rico Song(from Calypsoes) is a very late poem enchantingly summing up
Williams' pokerfaced enumeration of certain facts of nature.
On This Host Voluptuous Night is not really a separate poem but an unusually lush and
lyric moment in the midst of Book Two of Paterson, Williams' major work. The lyri-
cism of this fragment is heightened in its original context by being surrounded by
material much closer to prose than to lyric poetry.
Learning with age has again been extracted from the larger work. These lines form
the conclusion of the fifth and final book of Paterson and as such are a profound
reference to the things Williams found most significant in his life of thought and
action.
The musical style of On Ihls Most Voluptuous Night is eclectic. It is also often
concerned with vernacular musical materials which might be considered parallel to
Williams' use of vernacular american speech elements. In any case, all the material
is derived from a narrowly limited context of intervals and chords. Above all, in
this piece I have sought a balance of elements: surface accessibility with construc-
tive rigor, the amusing with the philosophical, congenial vocal setting with chall-
enging instrumental demand, in sum the "galant” with the learned.
-Y.W.-
Gunther Schuller: Concertino da Camera
Julia BaumgaAtel, violin
Lynn Rilling, viola
Steven SiguAdAon, cello
Keith Kaivazoe, ba. 66
CaAol AAcheA, piano
Saiko SaAaki, celeAta
Timothy Adami , pe/icuA6ion
Alan Meg na, peAcuAAion
Joanna BaAAett, filuteA, piccolo
Jane RhoadA, oboe
Vuncan PAeAcott, claAlnet
LaAAy PaAAin, claAlnet, baAA claAlnet
EaIc BeAelin, baAAoon
Vaniel Schulze , ho An
WeAley Nance, tAumpet
Ronald CaAAeAa, tAombone
Alice HoaIow, hoAp
OliveA KnuAAen, conductoA
Gunther Schuller was born in New York on 22 November 1925 and lives in Newton Center,
Mass. His career has been as wide-ranging as any in American music, beginning as a
horn player who was already principal player of the Cincinnati Symphony Orchestra
at the age of 18 and of the Metropolitan Opera by the time he was 20. He has been
active as a conductor, generously promoting the music of hundreds of contemporary
composers and contributing to the rediscovery of important figures from America's
musical past, ranging from John Knowles Paine to Scott Joplin. He has written many
stimulating essays on musical subjects and the best single book ever written about
jazz. For twenty years he was intimately involved with the Berkshire Music Center
(as it was then called), as director of the program, teacher of composition, conduc-
tor of the fellows* orchestra, and organizer of the annual Festival of Contemporary
Music. To this day he seems to lead more lives than any one individual can hope to
encompass, having added the publishing of contemporary music (Margun Music) and the
production of records (GM REcords) emphasizing new music in a wide range of styles
to his already busy existence.
Gunther Schuller was self-taught as a composer. He drew on many sources in his work,
amalgamating diverse styles and techniques, particularly assimilating elements of
jazz in a kind of fusion that he has called "Third Stream," a term that has been
widely accepted.
The Concertino da Camera is a 1971 composition for seventeen players cast in a
single movement of fluctuating tempi. The movement grows out of the opposition be-
tween sustained pitches on the one hand and short bursts of single notes of small
groups on the other. The level of activity builds, recedes, and builds again, mostly
-4-
in varying degrees of quiet dynamics until a dramatic outburst of chimes, piano
chords, and celesta clusters in a section in free, unmeasured-beats. The faster
motion continues with scurrying gestures tossed back and forth among the instruments.
Another "senza misura" passage builds to a restatement of the percussive outburst,
in which all the sustaining instruments hold their note as long as possible on one
breath (or one bow) and a last hushed gesture from celesta, cymbals, and timpani
brings the piece to an end.
Simon Bainbridge: Concertante in moto perpetuo
Adnlana Ro6ln, violin Amy K. Pohtien, ^lutie
Anle Vaacobl ., violin Duncan Pnencott, clanineti
MencedeA Leon , viola Tod BowenmaAten, honn
BnyndlA BalduAAAon, cello CoaoI An.ch.ojL, piano
Jenome Batten, bant
Alexa llnbet, Aolo oboe
Monk Gib Aon, conduction
Simon Bainbridge was born in London in 1952. From 1969' to 1972 he studied composi-
tion with John Lambert at the Royal College of Music. During the summers of 1973
and 1974 he was awarded a Tanglewood fellowship in composition, where he studied with
Gunther Schuller. Two of his compositions, Flugel (1973) and Concertante Music for
viola and ensemble (1974) were first performed here; the former work won the Margaret
Grant Prize in Composition. In 1976 Bainbridge became Forman Fellow in Composition
at the University of Edinburgh; in 1978 he was awarded a US/UK Bicentennial Fellow-
ship that enabled him to work in this country for a year. His music has been per-
formed widely in England and Scotland and increasingly in the United States.
Concertante in moto perpetuo was commissioned by the London Sinfonietta with funding
from the Arts Council of Great Britain. He completed the work on 25 March 1983 with
the dedication "To my daughter Rebecca." It was first performed by Gareth Hulse
(oboe) and the London Sinfonietta on 12 April 1983. The first American performance
was given that May in Boston by the Nash Ensemble (which includes many of the same
players as the Sinfonietta, including Hulse).
The werk is built up of tiny repetitive fragments that overlap and build gradually
to shimmering climaxes. For a large part of the piece the viola maintains a steady
eighth-note rhythm, against which the other parts play their varying figures. In
the first bars, the eights are subdivided into simple triplets in the piano and
violin. Soon more complicated patterns emerge. The featured oboe begins with
similar repetitive rhythmic gestures, but soon begins to expand into rhapsodic
phrases. The basic beat of the "moto perpetuo" eventually transfers to the piano,
and contrasting figures become more varied, less beat-marking. The final stage of
the piece elevates the level of activity to thirty-second notes against the eighth-
note pulse and gradually builds to a f f f conclusion.
Elliott Carter: Penthode
Steven H Men, violin
Cano line Wol{^, violin
Rllati OuAeihl, viola
Michael Stinting , cello
Jennitfen MatteAon, ba 54
Alan Megna, pencnAAlon
Timothy A damA, pencuAAlon
Robent PatitienAon, pencuAAlon
Mia Axon, hanp
Enlka W leknenz, piano
Jacqueline Del foe, glutei, piccolo
Jonathan'Blumen^eld, oboe, English' ho nn
Lanny PaAAln, B-^lat. E- filat clantinetA
*ViAgil Blackwell, baAA clanlnltA
Silvia Conlcelll, baAAoon
y Ellen 'JamaAlewlcz, honn
Patinlck Kunkee, tnumpet
Bnlan Rood, tnumpet
Ronald Cannena, tnombone
Je{)leny JanvlA, tuba
0 liven KnuAAen, conduction
Elliott Carter was born in New York on 1 1 December 1908. When he was 16, he met
Charles Ives, who took him to concerts and encouraged his compositional efforts.
Educated at Harvard (which he chose largely in order to be able to hear the stimu-
lating Boston Symphony concerts during the Koussevitzky era, he studied modern li-
terature, German, Greek, and mathematics. The experience of studies with Nadia
Boulanger, working through a wide repertory from the 14th century to the present,
focussed his technique and his musical point of view. He has taught at the Peabody
Conservatory, Columbia, Yale, and Juilliard. He has on several occasions been
composer- in-residence at the American Academy in Rome and has taught at the summer
schools held in Dartington (England) and Tanglewood.
Carter's earliest scores show the influence of Stravinsky and Hindemith, but his
music began to change toward the end of World War II, and he began to develop some
of the characteristic features that have remained central to his music: an abiding
passion for rhythm, often developed in tremendously complicated ways (at least as
they appear on paper), though with a firmly grasped rationale; a sense of "person-
ality" in the various instruments, which are less likely to be blended in his music
than they are to be opposed in different characters, like the actors in a play.
Carter has long been one of the most highly respected of contemporary American
composers. He has long since been in the happy position of choosing which commis-
sions he wishes to accept, and he now never accepts a commission for a new work
except from groups who have already demonstrated, through performance, an interest
in his music. The following commentary is based on remarks by Elliott Carter made
at Brandeis University last February when Penthode was performed in Boston by Pierre
Boulez and the Ensemble InterContemporaln, for whom the work was composed.
The Ensemble InterContemporaln, the chamber orchestra assembled by Pierre Boulez at
IRCAM in Paris, has in recent years presented virtually all of Carter:' s chamber
works. He completed the score in August 1985 for a premiere in London. The choice
of ensemble was determined, in part, by the fact that the Ensemble InterContemporaln
could take only 20 players on tour, though there are 30 core members available when
they play in Paris. He conceived the piece as representing a kind of "deconstruction'
of the orchestra, isolating five groups of four instruments each (because there are
five possible chords based on symmetrical arrangements of minor seconds, major
seconds, minor thirds, major thirds, and perfect fourths).
The five mixed quartets are to be widely spaced, in order to allow the audience to
perceive the movement of gestures from one group to another. The five groups are all
quite diverse in sonority, and certain gestures move back and forth among them in
complex overlapping and matching figures. The first and last parts represent
largely one enormous melodic line, while the middle part is a contrast. The idea
of the rhythmic layers that underlie this music was in part inspired by Carter's
experience of hearing Indian music in Berlin in 1964; the complex layers of rhythm
appealed to him. In Penthode he has different rhythms running along together; these
were laid out in advance as "a way to avoid thinking about polyrhythms, so I can
think about other kinds of things." The result is a flexible pattern in which one
kind of expressive quality can appear in the foreground over a contrasting one
elsewhere in the ensemble. These relationships change kaleidoscopically ; sometimes
they reach significant downbeats in be contrasting meters simultaneously, marking
the end of a cycle or the beginning of another.
-Steven Ledbetter-
, .
- c
'17;
Program Notes
Sunday, August 3, 1986
10 C0(i .aura.
Jonathan Lloyd: Feuding Fiddles
MaAta Szlubomka and SaAa. PaAfiin6, viotivuAtA
Jonathan Lloyd was born in London on 30 September 1948. He began studying composition
in 1963 wi Emile Spira, a pupil of Webern, and later pursued a course at the Royal
College of Music (1966-69), following which he attended a class of Henri Pousseur's.
He studied at the Berkshire Music Center in 1973, at which time he worked with
Gyorgy Ligeti. His output is not yet large, though it is extremely varied. Lloyd
seems to be something of a free spirit, as indicated by the statement in his pub-
lisher's official biography of him that from 1974-77 he had "occasional work as a
performer, busker, and street musician." What is regarded by many as his "break-
through" composition was the 1981 Toward the whitening dawn for chorus and chamber
orchestra. His music was featured in an all-Lloyd concert on 25 June this year as
part of the Almeida Festival in London, when six of his works were performed, in-
cluding three first performances. One of these was Feuding Fiddles, composed this
May for two unaccompanied violins.
The composer's comment on Feuding Fiddles is exceedingly brief: "Nothing to say,
everything to play for." Indeed, the title sufficiently prepares the listener for
a first hearing of this musical duel.
Benjamin Britten: Quartet No. 3, Opus 94
Benjamin Britten's last completed instrumental work was his Third Quartet, Opus 94,
which came after a gap of two decades from his second contribution to the medium.
After completing the second quartet, Britten almost completely withdrew from instru-
mental composition for almost fifteen years until his connections with Mstislav
Rostropovich inspired the first in a series of five major compositions for the cello.
During his last years, again under the influence of particular musicians, he also
wrote works for guitar (for Julian Bream) and harp (for Osian Ellis). Finally, for
what turned out to be his last completed instrumental work, he wrote the Third
Quartet. It was composed during October and November of 1975; the first performance
by the Amadeus Quartet, was given only a few weeks after the composer's death on
19 December 1976. Two years earlier Britten had completed his final opera. Death in
Venice, with which the Third Quartet has certain connections, as is made evident in
the music itself and in the heading "La Serenissima" given in the score to the last
movement. ("La Serenissima," standing for "the most serene [republic]," is the
traditional epithet given to Venice over the centuries and used by the Venetians of
themselves.) . , ‘ . n
Britten's design, with a five-movement plan arranged symmetrically around a slow
middle movement, recalls a favorite arrangement of Bartok's, though the musical
materials do not otherwise suggest the Hungarian composer. The heading of the first
movement, "Duets," indicates that it is not to be a classical sonata movement, but
something much morelyrically conceived, with the four instruments arrayed in pairs
throughout with a ground plan that includes each of the six possible combinations.
The score grows in a lyric development from the first gestures, especially the inter-
val of the second sounded in overlapping attacks between the viola and the second
violin at the outset.
The very fast "Ostinato" begins with a dramatic gesture in which all four instruments
move apart from the unison IS of the opening note, with the outer voices leaping up
and down respectively by intervals of a seventh. This interval Is the basis for the
ostinato that runs as backbone to the syncopated melodies in other parts. The slow
movement is as different as can be in tempo and texture, consisting essentially of a
calm, long-phrased lyric song in the first violin (the "Solo of the movement's title)
supported by simple triads, slowly arpeggiated, in the lower parts.
The "Burlesque" is an obsessive and frenetic dash, constantly reiterating a scale
pattern with apparently bizarre insistence. The finale, "Recitative and Passacaglia
(La Serenissima)," is in the key of E major, which had been associated with the
central character, Aschenbach, in Death in Venice. The latter part of the movement,
a passacaglia built on an undulating ground that consists entirely of whole steps, is
one of Britten's most moving artistic testaments. He had already demonstrated his
fondness for the passacaglia form - in which a repeated melody (usually in the bass)
is constantly reiterated as a counterpoint to a variation set - on many occasions.
In his operas the genre was employed as an indication of monomania and madness (Peter
Grimes) or as a moving threnody applicable either to comedy (Albert Herring) or
tragedy (The Rape of Lucretia). The melodic line of the beginning, a wavelike scalar
passage, climbs gradually in a great arc, opening up the musical space, and then
descends again to its original level. The ostinato gradually slows down to a stop in
the coda, dying away on the two notes that represent the outer limits of the passa-
caglia line, G-sharp in the melody and D-natural in the bass, closing in an enigmatic
tension that does not quite bring final peace.
-2-
Toru Takemitsu: Rocking Mirror Daybreak
MaAl Sow and Ad/ilana Rotln, violinist*
Toru Takemitsu was born in Tokyo on 8 October 1930 and lives there. The leading
Japanese composer of the present day, he is widely performed all over the world.
Takemitsu' s musical career came about as an unlikely result of an accident that
occurred when he was sixteen. While mountain climbing, he dropped his camera into a
waterfall. In trying to retrieve it, he caught pneumonia, and he was forced to
spend a long period convalescing at home. There he listened to music on the radio
for hours on end and - though he had never studied music up to that time - decided
to be a composer. He bought scores and taught himself to play the piano. Though he
became a private pupil of Kosuji Kiyose at the age of eighteen, he is largely self-
taught as a composer. Within three years he had organized Tokyo's Experimental
Workshop, a society for the performance of avant-garde music, and in 1966 he created,
with Seiji Ozawa and Toshi Ichiyanagi, the group Orchestral Space. This summer he is
visiting Tanglewood as artist- in-residence.
Takemitsu 's earlier music made fleeting obeisance to the expressionism of the second
Viennese school or to the melodic and harmonic gestures of French music in this
century from Debussy to Messiaen. But for the most part his music is entirely sui
generis. His rhythms are characteristically irregular and very flexible. His harm-
onies are not functional. For the most part, he has been interested in timbre and
texture, in the most varied and delicate colors of sound - and, as a corollary, with
silence. Much of his music finds inspiration in poetry, especially his favorite
writer, Mahota Ooka, who is a contemporary of Takemitsu 's.
Such inspiration was part of the creation of the work for two violins. Rocking
Mirror Daybreak , commissioned by and dedicated to Ani and Ida Kavafian, and first per-
formed by them in their first duo recital at Carnegie Hall in November 1983. The
inspiration in this case (and the title of the work) comes from a collection of
linked poems in Japanese and English by Ooka and Thomas Fitzsimmons. Each movement
title is taken from one of the individual poems of the anthology. One element of
the work's title - "mirror" - is reflected in the frequent use of musical inversion
between the voices.
Arnold Schoenberg: Suite, Opus 29
Lydia FoAbzi, violin Todd Palmzn, E-filal clanlnzt
Anna Schawm, viola Lee Caxaoll, B-^lal clanlneX
Katja Lln^lzld, c&llo Michael RulaImIz, baAA clanlnet
Medial Tal, piano
Schoenberg composed the Opus 29 suite between January 1925 and May 1926, mostly in
Berlin. It is one of the series of those epoch-making x^orks in which Schoenberg was
working out the musical implications of his recently developed technique of the 12-
tone row. He was still basing his movements largely on classical forms (for vdiich
atonal music would hardly seem possible, since the very basis of their shape was
tonal harmony) ; but in these pieces Schoenberg imbues each movement with a dance
element and hints of parody here and there. This was perhaps, to some extent,
necessary, since Schoenberg had not yet recaptured the soaring and ecstatic melodic
invention of his earlier tonal works (as he was to do with his Third String Quartet,
Opus 30). The instrumentation - three sizes of clarinet, three strings, and piano -
gives every opportunity for musical contrast, as well as combinations within the
wind or string families. The music has tremendous drive, propelling even its most
densely conceived moments. Schoenberg wittily conceals a perfect cadence at the end
of the first movement, and he uses a simple tune in E major - "Annchen von Tharau" -
as the basis of a set of variations in the third. The song, of course, does not
present all 12 notes of the chromatic (as 12-tone theory insists must happen), but
Schoenberg wittily presents them in the piano's chortling accompaniment.
-Steven Ledbetter-
Tanglewcod Music Center
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
PHYLLIS CURTIN SEMINAR
Third Recital
Monday, August 4, 1986 at 1:30 P.M.
Chamber Music Hall
FIANCAILLES POUR RIRE FRANCOIS POULENC
La Dame D'andre*
Dans L'herbe
II Vole
Mon Cadaure est don comme un Gant
Violin
Fleurs
Teri Medley, soprano
Thomas Dewey, piano
FETES GALANTES I CLAUDE DEBUSSY
En Sourdine
Fantoche
Clair de lune
Dominique LaBelle, soprano
Margo Garrett, piano
FOUR SONGS ALBERT ROUSSEL
A un Jeune Gentilhomme
Amoureux Separes
Reponse d’une epouse sage
Flammes
Eva Franko, soprano
Margaret Kampmeier, piano
EICHENDORFF LIEDER HUGO WOLF
Der Freund
Der Musikant
Verschwiegene Liebe
Christopheren Nomura, baritone
Thomas Dewey, piano
THREE SONGS ANDRE CAPLET
La Cloche Felee
Chanson D'Automne
La Croix Douloureuse
Barbara Youmans Nunes, mezzo-soprano
Michael Beattie, piano
ARIETTES OUBLIEES CLAUDE DEBUSSY
C'est L'extase
II pleure dans mon coeur
L’ ombre des arbes
Chevaux de bois
Anna Moser, soprano
Michael Beattie, piano
Andre docs riot know the woman
whom he took by the hand today.
Has she a heart for the tomorrows,
and for the evening has she a soul ?
On returning from a country ball
did she go in her flowing dress
to seek in the hay stacks the ring
for the random betrothal ?
Was she afraid, when night fell,
haunted by the ghosts of the past,
in her garden, when winter
entered by the wide avenue ?
He loved her for her colour,
for her Sunday good humour.
Will she fade on the white leaves
of his album of better days?
IN THE GRASS
1 can say nothing more
nor do anything for him.
He died for his beautiful one
he died a beautiful death*
outside
under the tree of the-Taw
in deep silence
in open countryside
in the grass.
He died unnoticed
crying out in his passing
calling
calling me.
But as I was far from him
and because his voice no longer
carried
he died alone in the woods
beneath the tree of his childhood.
And I can say nothing more
nor do anything for him.
* He died a natural death
HE FLIES
As the sun is setting
it is reflected in the polished surface
of my table
it is the round cheese of the fable
in the beak of my silver scissors.
But where is the crow ? It flies.
I should like to sew but a magnet
attracts all my needles.
On the square the skittle players
pass the time with game after game
But where is my lover? He flies.
1 have a thief for a lover,
the crow flies and my lover steals,
the thief of my heart breaks his word
and the thief of the cheese is not here
But where is happiness? It flies.
I weep under the weeping willow
I mingle my tears with its leaves.
1 weep because I want to be desired
and I am not pleasing to my thief.
But where then is love ? It flies.
Find the rhyme for my lack of reason
and by the roads of the countryside
oi mg me oacK my uigiuy lovei
who takes hearts and drives inc mad.
I wish that my thief would steal me.
MY CORPSE IS AS LIMP
AS A GLOVE
My corpse is as limp as a glove
limp as a glove of glac£ kid
and my two hidden pupils
make two white pebbles of my eyes.
Two white pebbles in my face
two mutes in the silence
still shadowed by a secret
and heavy with the burden of things
seen.
My fingers so often straying
are joined in a saintly pose
resting on the hollow of my groans
at the centre of my arrested heart.
And my two feet are the mountains
the last two hills I saw
at the moment when 1 lost
the race that the years win.
I still resemble myself
children bear away the memory
quickly,
go, go, my life is done.
My corpse is as limp as a glove.
VIOLIN
Enamoured couple with the
accents
the violin and its player please me.
Ah! I love these wailings long drawn
out
on the cord of uneasiness.
In chords on the cords of the hanged
at the hour when the Laws are silent
the heart, formed like a strawberry,
offers it’self to love like an unknown
fruit.
mi£p«rt*d
FLOWERS
Promised flowers, flowers held in
your arms,
flowers sprung from the parenthesis*
of a step,
who brought you these flowers in
winter
powdered with the sand of the seas?
Sand of your kisses, flowers of faded
loves
the beautiful eyes are ashes and in the
fireplace
a heart beribboned with sighs
burns with its treasured pictures.
* The shape made by a footpnnt in the sarid
FETES GALANTES I
CLAUDE DEBUSSY
EN SOURDINE (MUTED)
Calm in the half light made by the tall branches
let our love be imbued with this deep silence.
Let us merge our souls, our hearts and our ecstatic senses
with the vague languors of the pines and the arbutus.
Half close your eyes, fold your arms across your breast,
and from your sleeping heart for ever drive away all purpose.
Let us surrender to the soothing , gentle zephyr
that comes to ruffle at your feet the waves of russet grass.
And when , solemnly , evening falls from the dark oak tree,
voice of our despair, the nightingale will sing.
FANTOCHE (MARIONETTES)
Scaramouche and Pulcinella
whom a nefarious plot brought together,
gesticulate, black beneath the moon.
Meanwhile the excellent doctor from Bologna
leisurely gathers medicinal herbs in the dark grass.
Then his daughter .prettily piquant,
beneath the hedge stealthily glides half naked, in quest
of her handsome Spanish pirate,
of whom an amorous nightingale
proclaims the distress at the top of its voice.
CLAIR DE LUNE (MOONLIGHT)
Your soul is a chosen landscape
to which maskers and bergamasks bring delight,
playing the lute and dancing, and almost
sad beneath their fanciful disguises.
While singing in the minor key
of victorious love and the propitious life,
they do not seem to believe in their happiness
and their song mingles with the moonlight,
with the calm moonlight , sad and beautiful,
which brings dreams to the birds in the trees
and makes the fountains sob 'with ecstasy,
the tall slender fountains among the marble statues.
PAUL VERLAINE
t
r-
A un jeune Gent ilhomme (H. P. Roche)
Don't come in. Sir, please,
don’t crush my ferns,
not that that would cause me much grief,
but what would my father and mother say?
And even though I may love you,
I don't dare think what would happen.
Don't climb over my wall. Sir, please,
don’t spoil my primulas,
not that that would cause me much grief,
but, heavens, what would my brothers say?
And even though I may love you,
I don't dare think what would happen.
Stay outside. Sir, please,
Don’t come through my shutter,
not that that would cause me much grief,
but, heavens, what would people say?
And even though I may love you,
I don't dare think what would happen.
Amoureux Separes (H. P. Roche)
Flammes (G. Jean-Aubry)
L am near the door where you bade me farewell:
The room is unchanged and pleasant
and the fire in the hearth is a source
O^clear and joyous memories.
I am near the table where you leaned your hand
The lamp has the same confidential spirit
and serene regard for the shadow that calls it
Near the fireplace where you dreamt,
I am alone this October night, and
the same soft room lights up with mysterious
reflections.
I hear the branches shiver under the caress
of the flames,
and I watch the forms surgeing:
Brief, like the passage of souls.
I feel in my soul and flesh an inexpressible
emotion surfacing.
And I am unchanged and peaceful tonight,
and lucid from the flame that things past
reflect in me.
In the kingdom of Yen, a young gallant resides,
in the kingdom of Chao, a lovely maiden dwells.
Truth to tell, these realms are not very far apart,
but a range of mountain peaks completely
separates them.
"You, clouds, carry me on your strong breasts,
winds, be my steeds and gallop] "
The coulds in the sky do not hear the voice,
the changeful breeze rises and falls,
I am left with the bitter sorrow of my thoughts,
dreaming of the beloved whom I will never reach.
Reponse d ' une epouse sage (H. P. Roche)
Knowing, Sir, my married state,
you have sent me two precious pearls
and I, understanding your love,
coldly placed them upon the silk of my dress.
For my house is of high lineage,
my husband, captain of the King's Guard.
And a man such as yourself ought to say:
"The bonds of matrimony are not to be broken."
With the two pearls I send you back two tears,
two tears that I did not meet you sooner.
uer rreu/iu / ineiitcnu
JOSEPH VON EICHENDORFF
Hugo Wolf, l888
Whoever on the waves wouid sleep,
a gently cradled child,
knows not the depths of life,
is with sweet dreaming blind.
But he whom the storms seize
for wild dance and feast,
whom, high upon dark paths,
the false world abandons:
learns bravely to bestir himself
through night and cliffs,
learns to steer a course
with sure and serious mind.
He is of sound heart,
proven in joy and pain,
believes in God and the stars,
my helmsman shall he be I
Der Musikant / The Musician
JOSEPH VON EICHENDORFF
Reinhard Schwarz-Schilling, 1944; Hugo Wolf, 1888
Journeying is my life’s love,
and I live as I may,
and were I to exert myself,
it would not suit at all.
Beautiful old songs I know,
and shoeless, in the cold,
I pluck my strings in the open,
know not where at eve I’ll rest.
Many a beauty gives me looks,
says she would fancy me
if I’d make something of myself,
were not such a beggar wretch.
May God give you a husband,
provide a house and home.
If we two were together,
my singing might then end.
Versckwiegene Liebe / Silent Love
JOSEPH VON EICHENDORFF
Hugo Wolf, 1888
Heitnweh / Homesickness
JOSEPH VON EICHENDORFF
Over trees and com
into the gleam —
who may guess them,
retrieve them? —
thoughts go swaying,
Hugo Wolf, 1888
He who would journey abroad
must go with his beloved,
others, in their joy, leave
the stranger standing alone.
the night is silent,
thoughts are free.
What do you know, dark summits,
of the happy days now past?
Oh, homeland beyond the mountains
how far it lies from here.
One alone guesses
who has thought of her,
as the woods murmur,
when no one keeps watch
Jjut the clouds that fly —
my love is silent
and beautiful as night.
I love best to watch the stars
that shone as to her I went,
I love to hear the nightingale
that sang at my loved one’s door.
But dawn, that’s my delight!
At that peaceful hour I climb
the highest mountain,
and from my heart I greet you,
German land !
ARIETTES OUBLIEES
IT IS ECSTASY
Ic is languorous ecstasy,
i( it loving lassitude,
it i* all the tremors of the woods
in the embrace of the breezes,
it is, in the grey branches,
the choir of tiny voices.
O the frail, fresh murmuring!
That twittering and whispering
is like the sweet cry
breathed out by the ruffled grass. . . .
You would say, beneath the swirling
waters,
the muted rolling of the pebbles.
This soul which mourns
in subdued lamentation,
it is ours, is it not ?
Mine, say, and yours,
breathing a humble anthem
in the warm evening, very softly ?
TEARS FALL IN MY HEART
Tears fill in my heart
like rain upon the town,
what is this languor
that pervades my heart ?
O gentle sound of the rain
on the ground and on the roofs !
For a listless heart,
O the sound of the rain !
Tears fall without reason
in this sickened heart.
What ! no perfidy ?
This sorrow has no cause.
Indeed it is the worst pain
not to know why,
without love and without hate,
my heart feels so much pain!
MERRY-GO-ROUND
Tum, turn, fine mcrry-go-round,
turn a hundred times, tum a thousand
times,
tum often and go on turning,
tum to the sound of the oboes
The rubicund child and the pale
mother,
the lad in black and the girl in pink,
the one down to earth, the other
showing off.
each one has his Sunday pennyworth.
Tum, tum, merry-go-round of their
hearts,
while around all your whirling
squints the eye of the
crafty pickpocket,
tum to the sound of the triumphant
comet.
It is astonishing how intoxicating it is
to nde thus in this stupid circle,
with a sinking stomach and an
aching head,
heaps of discomfort and plenty of fun.
Turn, gee-gees, without any need
ever to use spurs
to keep you at the gallop,
tum, tum, without hope of hay.
And hurry, horses of their souls,
already the supper bell is ringing,
night falls and chases away the troop
of gay drinkers famished by their
thirst.
Tum, tum! The velvet sky
is slowly pricked with golden stars.
The church bell tolls a mournful
knell,
tum to merry beating of the drums.
THE SHADOW OF THE TREES
The shadow of the trees in the misty
river
dies away like smoke,
while on high, among the real
branches,
the doves sing their plaint.
How much, O traveller, this wan
landscape
wanly reflected yourself,
and in the high foliage how sadly
wept
your drowned hopes.
A
LA CLOCHE FELEE
It is both bitter and sweet, during winter nights,
listening to the distant memories, by the flickering
and smokeing fire, slowly rise to the sound of the carillons,
that chimes in the mist.
Fortunate is the bell with the energetic throat,
That, despite its' old age, is alert and in good health.
It tolls faithfully its' cry religiously,
Like an old soldier standing watch beneath the tent.
Me, my soul is cracked, and when in its' distress,
it needs Its* songs to fill the cold of the night.
It happens often that its' weakened voice
seems to resemble,
the thick rattle of a forgotten wounded man,
beside a lake of blood, beneath a pile of the dead,
dies, unable to move, in extreme effort.
CHANSON D'AUTOMNE
Charles Baudelaire
You who comes and knocks at my door.
Tell me what your hand brings me, pale autumn ?
A dead leaf.
This scanty gift, on my honor.
By offering this, at least tell rae what it means.
Remember !
These unanimated remains, who with perfumed hand,
gave it to you?
Your beloved.
A promise of love or of remorse, this gift, so cherished,
where does it come from?
From the land of the dead.
Armand Silvestre
LA CROIX DOULOUREUSE
Alas, had it been your will. Lord,
These burning tears that I am shedding,
would not be flowing from my eyes in Your presence
Had it been your will,
They would have lived and would still be beside me
Those being so tenderly loved.
Whose death has broken my heart.
But, I adore your will,
of which the purposes are inscrutable
and always merciful,
even in severity.
I try to submit without complaint.
I bow my head and accept, oh my God,
in uniting with yours, the cross
with which you overwhelm me.
Only I beseech you to help me bear it.
R.P. Lacordaire
Program Notes
Electro-Acoustic Prelude, August 4, 1986, 7:30 pm
Paul Lansky: Idle Chatter
Paul Lansky (b.1944) studied at the High School of Music and Art, Queens
College, and Princeton University, where he is currently Professor of Music. His
works consist largely of compositions for piano, chamber ensembles, and computer-
synthesized tape, and have been recorded on CRI, Nonesuch, and Columbia-Odyssey
records. He is a former member of the Dorian Wind Quintet (French horn), is a
member of the editorial staff of Perspective of New Music, and has received a Beams
Prize, the ISCM-League of Composers Electronic Music Award, the American Academy-
Institute of Arts and Letters Award, an award from the Koussevitzky Foundation, and
from the National Endowment for the Arts.
Idle Chatter is an eloquent attempt to say nothing without taking a breath for
565.9 seconds, 9. 43 minutes, 31,690,400 samples, or 63,380,800 bytes — take your pick —
and have fun while doing so. This is my first piece to make use of extensive comp-
uter assisted composition, mainly in the application of rhythmic and timbral masks
and mixes. The sound sources were derived by use of linear prediction and various
other filter subterfuges. The piece was synthesized on Princeton's IBM 3081 computer
James Dashow: In Winter Shine (1983)
James Dashow is director of the Sciadoni Electronic Music Studio in Rome, and is
also affiliated with the University of Padova. Dashow studied at Princeton with
Milton Babbitt, J.K. Randall, and Earl Kim; with Arthur Berger and Seymour Shifrin
at Brandeis, where he earned his PhD. in composition; and with Goffredo Petrassi at
the Accademia Mazionale di Santa Cecilia in Rome. Dashow has written for both
electronic and traditional acoustic resources; his work is recorded on the CRI and
PAN-PRC labels, in addition to In Winter Shine, which appears on compact audio disc
as part of a collection of music realized at the MIT Studio.
In Winter Shine was composed and realized during the composer's stay at MIT
during Spring 1983 on a visiting faculty appointment. The work was commissioned by
the Council for the Arts at MIT. The piece was begun in one of Boston’s worst
blizzards during which the composer found the title in a line from John Ashbery's
poem Litany. The work is conceived of as "chamber music" — quartet style since each
loudspeaker is thought of as a separate performer — and continues to develop the
composer’s ideas about pitch prolongation by means of inharmonic chord-spectra harm-
onizations. The background generating-pitch structure is a departure from the
composer’s usual practice of relating groups of pitches by common tones; here, the
generating-pitch group progression is concerned with minor or major second based
diads, taken as the fundamental unit, and the working out of a slowly evolving
pattern of intervallic relationships between diad pairs. Generally, each channel is
assigned particular qualities of harmonizations for each generating-pitch group
while the spatial progression of pitches around the loudspeakers is maintained as a
compositional constant (broken at structurally significant moments) .
A good deal of attention was given to amplitude envelope shapes and attack times
as means of supporting and more sharply delineating the work’s structure.
Finally, in the scherzo section, specific generating-diad intervals are frozen,
and the resultant spectra are used as the basic sounds for fast-paced contrapuntal
patternings, freely and humourously developed.
Formally, In Winter Shine juxtaposes textureally contrasting sections much
like the shifting imagery of an Ashbery poem. The composer is concerned with the
shape of the whole carefully molded in time. The listener's memory of the effect
of immediately preceding sections is a significant factor. It is hoped that the
surface (timbral) qualities of each section will pleasurably engage the listener's
attention while permitting memory to maintain the sense of the section in shaping
response to subsequent events and, ultimately, the entire piece.
In Winter Shine was realized with the resources of the MIT Experimental Music
Studio: in particular, Musicll and Miller Puckette's real time signal processing
programs written for the AP 400 array processor. The composer wishes to acknowledge
warmly the help and support of the Studio staff.
Jonathan Harvey: Mortuos Plango, Vivos Voco
Jonathan Harvey (b.1030) graduated from St. John’s College, Cambridge, later
earning a PhD. from Glasgow University and a MusD. from Cambridge. On Benjamin
Britten’s advice, he studied composition with Erwin Stein and subsequently with
Hans Keller. Harvey has absorbed such diverse musical influences as Britten,
Stockhausen, and Babbitt, and has emerged as one of the most original British
composers of his generation. His output includes all kinds of music; in England
his choral music for the church is widely performed, but his reputation on the
Continent and in American is founded to a considerable extent on his electro-
acoustic music — in particular, ’’Mortuos Plango, Vivoc Voco.” Harvey is Professor
of Music at Sussex University.
-program notes by the composers-
Program Notes
Monday, August 4, 1986
Marc Neikrug: Mobile
Sola Pan.kA.nA, vie tin
Bing Wang, via tin
Meicede* Leon, viola
Andie* Diaz, cello
Heniy Peyiebiune, ba*A
Timothy Adam *, peicuAAlon
John JutAum, peicuAAlon
Michael PuAlnek, clailnet
Vuncan Pie* colt, clailnet
Lany PaAAln, clailnet, baAA clailnet
Kevin Kennel, piano
Adam Kuenzel, filute
Malk Spaik* , {)lute
Alexa Zhbel, oboe
Marc Neikrug was born in New York in 1946. Although he now makes his home there, he
grew up in Los Angeles, where he began to compose at an early age, and later completed
his studies in Germany, His principal teacher - at the Detmold Hochschule - was
Giselher Klebe. He was a Composition Fellow at Tanglewood in 1970. Neikrug is cur-
rently in his sixth season as Special Consultant for Contemporary programs for the
Saint Paul Chamber Orchestra and has recently completed his first as Music Director
of Melbourne Summer Music, Australia.
Since the late 1960s, Neikrug has maintained a double career, as composer and also as
pianist. Initially, he was the sonata partner to his father George Neikrug, the
eminent cellist, and in more recent years has fulfilled the same role with Pinchas
Zukerman.
Over the past six years Marc Neikrug has produced a number of large-scale compositions.
Most significant amongst these are Through Roses (1980), a music theater piece which
has received over 100 performances since its premiere. Eternity’s Sunrise for orche-
stra (1980), first performed by the New York Philharmonic, and the Violin Concerto
(1983), which was written for Shlomo Mintz to a commission from the Houston Symphony
and which has already been heard in England, Australia and Buffalo USA during the
current year.
Marc Neikrug is now writing a full-scale opera, Los Alamos, for the Deutsche Oper,
Berlin, to be premiered in 1988 and a work for string quartet and chamber orchestra
for performance by the Guarneri Quartet and the Saint Paul Chamber Orchestra in the
fall of 1987. He has provided the following program note for Mobile:
'Mobile was commissioned by the ZDF German Television in 1981 for a program entitled
"Homage a Stravinsky." It was first performed by members of the Berlin Radio Symphony
Orchestra for this production. The title refers to a visual conception of the piece
as it was originally intended for the special medium of television. The players are
divided into three groups which constitute the different planes on which the piece
takes place. The groups play and are silent in various juxtapositions which result
in the specific shape (visual and aural) of the work."
Torn Takemitsu: Water-Ways
Toru Takemitsu was born in Tokyo on 8 October 1930 and lives there. The leading
Japanese composer of the present day, he is widely performed all over the world.
Takemitsu' s musical career came about as an unlikely result of an accident that
occurred when he was sixteen. While mountain climbing, he dropped his camera into a
waterfull. In trying to retrieve it, he caught pneumonia, and he was forced to spend
a long period convalescing at home. There he listened to music on the radio for
hours on end and - though he had never studied music up to that time - decided to be
a composer. He bought scores and taught himself to play the piano. Though he became
a private pupil of Kosuji Kiyose at the age of eighteen, he is largely self-taught as
a composer. Within three years he had organized Tokyo's Experimental Workshop, a
society for the performance of avant-garde music, and in 1966 he created, with Seiji
Ozawa and Toshi Ichiyanagi, the group Orchestral Space. This summer he is visiting
Tanglewood as artist-in-residence.
Takemitsu 's earlier music made fleeting obeisance to the expressionism of the second
Viennese school or to the melodic and harmonic gestures of French music in this cen-
tury from Debussy to Messiaen. But for the most part his music is entirely sui
generis, with rhythms that are characteristically irregular and very flexible and
non-functional harmonies. For the most part, he has been interested in timbre and
texture, in the most varied and delicate colors of sound - and, as a corollary, with
silence.
Much of his music finds inspiration in poetry or in the source of so much Japanese
art and literature, observation of the natural world. The very title Water-Ways
suggests inspiration in nature. Scored for piano, violin, cello, clarinet, two
harps, and two vibraphones, the work was composed for the ensemble TASHI in 1978. The
title of the work arises from its basic image: each instrument
small stream, contributing its portion as tributary to an ever _ _ ast
to the ocean. Following a short introduction, each instrument plays its own part,
apparently in absolute independence of the others. They represent different tempi
moving through proportional durations and gathering gradually into a very large
VlonlAla Fernandez, violin
Owen Young , cello
Mia Axon, haip
Alice Hallow, haip
Alan Megna, vlbiaphone
Vavld Hall, vlbiaphone
Laliy PaAAln, claiinet
Salko'SaAakl, piano
-2-
stream moving toward what the composer has called "the sea of tonality." Takemitsu
has described the disposition of the parts as symmetrical, noting that this is unusual
in his work; this arrangement was inspired by a visit to the Alhambra, where he sat
in a Moorish garden laid out on a very symmetrical plan and experienced the sense of
space in that arrangement, so different from the artfully "natural" irregularity of
Japanese gardens. Throughout Water-Ways the pianist acts as "conductor," controlling
the tempo and guiding the progression from the atonality of the opening to the C-mode
tonality in which it concludes.
Nicholas Thorne: Chaconne: Passion of the Heart
Fin*t violin*
Kanen Bentley
Adniana RoAin
Julia Baumgantel
Manta Szlubomka
Ling Ling Guan
Meg ami TeAhima
Second violin*
Sing Wang
Elizabeth Suh.
EtAuko TAuchida
Jarne* T*ao
Caroline Wol&fi
A ndnew SchaAt
Cello*
Katja Linfiield
Michael Stinting
Samuel Suiifit
Andnea* Sami
BaAAC*
Jennifiea Matter on
Benny Peynebnune
Flute*
Jacqueline VeVoe
Oboe, English honn
Elizabeth Stoyanovich
Jonathan Blumenfield
Boa toon*
Silvia Conicelii
Patnieia Pout* on
Bonn*
Vaniel Schulze
Ellen Tomasieuicz
Tnumpet
Patnicfz Kunkee
Timpani
Robert Patten* on
Piano
Vaniel Shapino
Viola*
Jenny Pie*
Katnina Smith
Lynn Rilling
Tnihh Le Tnung
Claninet
hiichael RuAinek
Nicholas Thorne was born in Copenhagen Denmark in 1953, and has lived in the United
States since 1963. His undergraduate and graduate was done at the Berklee College of
Music and the New England Conservatory, respectively, in addition to which he spent
two summers as a Fellow at Tanglewood where he studied with Gunther Schuller. He has
taught at Johnson State College, Vermont College, and the Vermont Conservatory of the
Arts, but since 1981 has devoted all his time to composing.
In the past eight years, Thorne has received and fulfilled Some twenty commissions,
the most recent of which are those from the Philadelphia Orchestra, the Saint Paul
Chamber Orchestra, the Y Chamber Symphony, Michala Petri, the New York New Music
Ensemble, and Collage. These works have found their way into the repertory of a
wide range of ensembles: in Europe, the London Sinfonietta, L' Ensemble InterContemp-
orain, the Rome Radio Orchestra, and the Danish Radio Orchestra; in the United States
by the Pittsburgh Symphony, the Saint Paul Chamber Orchestra, the New York Philharm-
onic, and virtually all this country's major new music ensembles. In February of
1985 the National Philharmonic of the Philippines presented an all Thorne orchestral
program, which included his First and Second Symphonies and his Chaconne for Orche-
stra, with the composer in attendance, and the Orchestras of Hong Kong and the
National Philharmonic are programming his work in coming seasons.
His compositions have elicited the following awards: the Koussevitzky Composition
Prize, a Rome Prize Fellowship, a Nonesuch Commission Award, a Guggenheim Fellowship,
and the Charles Ives Fellowship from the American Academy and Institute of Arts and
Letters.
At present Thorne divides his time between the University of Michigan at Ann Arbor,
where he is Assistant Professor/postdoctoral scholar, and his studio in Marshfield,
Vermont .
The Chaconne, generally speaking, is a baroque form for continuous variations set
over a recurring set of harmonies. My chaconne does exactly that, though unlike the
traditional chaconne which would have been set over a series of triadic harmonies,
mine utilizes harmonic materials of my own invention; eleven groups of chord-scales
of seven notes each. Over these, a fantasy-like continuous development generates
the unfolding of the piece.
As to the subtitle of Chaconne, I would say that this work was made from the great,
urgent desire to put forth, to unravel, to sing, to give musical shape to the forces
inside and out of me. Indeed, it is the great passion of creative people. In this
instance, however, the heart is mine.
-3-
Alan Stout: Cinq Visages de
ViollnA
Katie. Lam dale.
Ma/U KlmuAa
Kanen Bentley
Kathy Hold
And/Leu) SchaAt
Violas
Oavonen Chick
Ennest Rlchaadson
Tnlnh le Truing
Anna Schaum
Cello s
Rachel Gnuben
Andneas Sami
Steven SlguAdson
Samuel Sul fit
LaForgue
Basses
Tfehhy Peyriebruine
Jennl^eA Matteson
Flute
Jacqueline Pel foe
Alto jlate
Ma/ck Spank*
Boa a jlute
Adam Kuenzel
Oboe
Jonathan Blumenfield
English ho An
Elizabeth Sto yano vlck
Clanlnet
Michael RuAlnek
Boa A claAlnet
La/iAy Passln
Trumpet
Anthony VILoAenzo
PeAcuAAlon
RobeAt PatteAAon
David Hall
Plano / celesta
Salko Sasalu.
Hanp
Mia Axon
Alan Stout was born in Baltimore on 26 November 1932. He studied at the Peabody Con-
servatory of Muisc and Johns Hopkins University, where he studied with Henry Cowell
and took sporadic lessons with Wallingford Riegger in New York. He spent a year
(1954-55) in Copenhagen, working the Vagn Holmboe; this time generated a deep inte-
rest in the music and literature of Scandinavia. After returning to the U.S., he
took an M.A. in composition and Swedish at the University of Washington, where he
worked with John Verrall. In 1963 he was appointed to the music faculty of North-
western University, where he is now Professor of Music.
Cinq Visages de LaForgue was composed over an extended period from 1971 to 1977;
it receives its first performance tonight. The composer, who is interested in the
poetry of T.S. Eliot, was drawn to the writings of Jules LaForgue, whom Eliot parti-
cularly admired. Of the five short movements (the entire work runs but 9 minutes),
the first, third, and fifth contain: settings of LaForgue and were conceived as
memorial tributes to friends of the composer's. The two purely instrumental move-
ments (II and IV) share the same - extremely slow - metronome marking and expressive
character. They were composed for the 70th and 65th birthdays, respectively, of
new-music champion and patron Paul Fromm.
The composition is basically very gentle and quiet. In the three vocal movements,
a quasi-tonal voice part sings over a palette of completely mixed texture, with
sustained, very soft chords in strings (including microtones) to erase any sense of
tonality and very gentle and subtle interjections by the wind instruments. Each
movement has its own instrumental palette, but all share in the understated delicate
mood of the whole.
I. She is far away.
She weeps.
The great wind laments also.
To the memory of Carol Klee Band
III. To the memory of Bruno Maderna
Life or nothing! Choose!
Ah such discipline!
Why is there no Eden
Between these two mills?
V. Living with the tick tock of the clock
saying :
"What weather will it be tomorrow?"
"It is winter that is coming.
"We have had no prunes this year."
To the memory of Esther Williamson
Button
Hans Werner Henze: Fandango sopra un basso del Padre Soler
Kans Werner Henze was born in Giitersloh, Westphalia, Germany, on 1 July 1926. For
many years a resident of Italy, he was Composer-in-Residence at Tanglewood in 1983.
Henze demonstrated his musical interests at an early age, though this led to family
tensions at a time (the late 30s) when politics rather than art inevitably dominated
German family life. The experience of chamber music played almost secretly in the
partially Jewish household of a friendly neighbor confirmed the composer-to-be in
the notion that music was anti-authoritarian, the embodiment of individuality, some-
thing that has remained a powerful part of his musical outlook to this day. He began
to compose about the age of 12, even before he had begun systematic instruction.
When he was drafted in 1944, he continued composing under the inevitable restrictions
of military life, turning them to advantage by training himself to hear mentally
complex musical combinations. After the war, he began studies with Wolfgang Fortner
in Heidelberg, where he attained a technical mastery of counterpoint and began to
compose the works that represented his earliest successes. But by the late 1940s
he had become an eager participant in the summer courses offered at Darmstadt by
Rene Leibowitz, one of the leading proponents of the dodecaphonic school that eman-
ated from Vienna. During the ensuing years he began to produce a wide-ranging array
of scores in virtually every medium from small chamber combinations to symphony and
opera. His music sometimes shows startling contrasts between one work and the next,
testimony to his independent treatment of the Schoenbergian method, which has never
hampered his own expressive purposes. Since the early 1950s he has lived mostly in
-4-
/
Italy. During the late 1960s and through the 1970s his music frequently reflected
his concern for the political dilemmas of our time, presented in scores that often
belonged to the generalized category of "music theater" and demonstrated a creative
eclecticism in their choice of materials.
In recent years Henze has moved away from such constant political engagement in his
music. The Fandango sopra un basso del Padre Antonio Soler is a case in point: it
is a brilliant orchestral elaboration of the famous 450-bar Fandango of the 18th-
century Catalan composer Antonio Soler. The original keyboard work is built on a ;
harmonic ostinato alternating A major and D minor, over which Soler wrote down an
increasingly elaborate melodic line that works up to a fine frenzy. Henze's orch-
estral version further elaborates Soler' s 18th-century frenzy into a complex 20th-
century one, generally retaining the 3/4 meter of the original and making great
demands on everyone in the large orchestra. In conception the work is surprisingly
similar to Luciano Berio's orchestral re-working of Boccherini's "Night Retreat in
Madrid" (La Ritirata Notturna di Madrid) performed by the BSO when Berio was Composer
in-Residence at Tanglewood four years ago, though the Henze is elaborated to a far
greater degree. The work was written in 1985 for Daniel Barenboim and the Orchestre
de Paris and premiered by them on 5 February 1986.
-Steven Ledbetter-
Program Notes
Electro-Acoustic Prelude, August 5, 1986, 7:30 pm
Jay Alan Yim: Shiosai
Alan Yim was born in 1958 and grew up in Los Angeles. He earned a B.A. in
composition from the University of California, Santa Barbara, and an M.M. from the
Royald College of Music in London, studying composition with Justin Connolly. He
has also studied with Harrison Birtwistle at Dartington. Work in the computer-music
medium has been under the guidance of Barry Vercoe at the Massachusetts Institute of
Technology, as well as with John Chowning and Dexter Morrill at the Center for
Computer Research in Music and Acoustics (CCRMA) at Stanford University. Currently
he is a Ph.D. candidate at Harvard, where his teachers have been Earl Kim, Donald
Martino, and Peter Maxwell Davies.
Alan Yim has been the recipient of a number of awards, among which are three
consecutive BMI Awards, two consecutive George Arthur Knight Prizes from Harvard
University, an ASCAP Foundation Grant, the ISCM's Mew England Composers Prize, a
Composer- in-Residence Fellowship at the Cummington Community and School of the Arts
(supported by the Massachusetts Council of the Arts), and awards from NEWCOMP (New
England Computer Arts Assocation), Gettysburg College, NACUSA, and the Fondazione
Accademia Musicale Chigiana. His music has been performed in the United States,
Canada, Great Britain, and Japan; major festival performances to date have been the
1982 Huddersfield Contemporary Music Festival in England by the Endymion Ensemble,
and the 1985 International Computer Music Conference in Vancouver, Canada.
From 1978-1980 Yim was the Director of the Electronic Music Studio at the
University of California, Santa Barbara; currently he is a Teaching Fellow at
Harvard University.
The title of this work comes from the novel of the same name by Yukio Mishima;
shiosai means "the sound of waves" in Japanese. In a crude sense it could be con-
sidered a kind of tone poem, but it adheres to the formal outlines of Mishima' s novel
in only the most generalized terms. The piece was composed and realized on the
Systems Concepts Digital Synthesizer at the Center for Computer Research in Music
and Acoustics (CCRMA) at Stanford University during the summer of 1984. Although
there are structural and textural similarities between my work in the digital medium
and my pieces for traditional instrumental resources (certain proportional schemes,
the superimposition of pattern upon pattern upon pattern), the computer alone offers
the possibility for a kind of precision in both the domains of pitch and rhythm which
human performers can only approximate. With regard to the frequency domain, micro-
tonal scales and other divisions of the octave become easily accessible to the
composer, moreover, it becomes possible to experiment with microtonally structured
harmonies without needing to re-educate one's performers to execute music based on a
system which is essentially foreign to the way that they have been trained to play.
Likewise, the extreme rhythmic complexities (subdivided subdivisions of subdivided
subdivisions!) which can arise out of the composer's attempt to use conventional
means to notate ideas which are intuitively quite comprehensible (like the rhythms
of speech) are greatly facilitated.
Shiosai uses a scale with 26 equally tempered tones per' octave, and there are
basically four different themes, consisting of four, six, seve and nine tones
each. The computer assisted me in the compositional process by producing long
streams of poly-isorhythmically generated melodies. For example, the four-note
theme might be transposed and/or imertsd and/or retrograded every seven notes, while
a durational isorhythmic cycle (governing note overlaps) repeats every six notes, an
independent cycle of attack points (derived from isoperiodic sampling of a low fre-
quency sine wave) could regenerate every eleven notes; a dynamic series might have
five values, and perhaps every third note would be transposed to a different octave
register . Even the apparent physical location within the four-channel space could
be governed by a different iso-cyclic scheme. The resultant melodic "bundle" has
both continuity and variety at the same time. If the durations are longer than the
spaces between attack points, then arpeggiated harmonies and/or implied multivoiced
counterpoint will be perceived. In this piece, many such streams are woven together
in various combinations, like sections of a large tapestry and orchestrated to
cvoate and dense textural webs that form the actual surface of the work. Shiosai Is
dedicated to my friends Paul and Cathy.
Jean-Claude Risset: Songes
"Songes" is a piece for magnetic tape which uses part of the tape of "Mirages,"
a piece for 16 instruments and tape. "Songes" has been realized with the IRCAM
version of the MUSIC V program, which permits synthesis of sounds as well as pro-
cessing digitized sounds.
The title suggests the dreamlike character of adventures taking place on diff-
erent stages - adventures of sound figures coming from an unreal, imaginary world.
The identity of sonic beings which sometimes escape material constraints gets
dissolved into the continuity of textures, the flux of movement, evolutions. Yet
can one be sure to distinguish illusion and reality, insofar as experiences come
through our perception, our conscience?
-2-
At the beginning of the piece, one hears instrumental sounds. These sounds
have been mixed, tiled with the computer from motives recorded by instrumentalists
(each one of five motifs, lasting from two to five seconds, has been recorded sepa-
rately by instrumentalists of the Ensemble Intercontemporain) . In addition to mere
mixing, the instrumental sounds have been slightly altered, in particular to give
space effects. The harmonic structures of the motives, repeated in a quasi-obsess-
ional fashion, are reflected in high harmonic textures, then later in synthetic in-
harmonic sounds. The components of these sounds can, depending upon their temporal
envelope, fuse into bell-like tones or split into fluid textures. The inharmonic
sounds accumulate in the form of nested chords, reproducing between them the frequen-
cy relation which exists within them between their components. This accumulation
gives rise to a crescendo filling the frequency space from low to treble. The coda
is quieter, with long sustained pedals of low tones which undulate because of
variable time delays (like echoes from a moving wall). Above these tones, widely
frequency-modulated high sounds travel like imaginary birds.
The composer thanks the instrumentalists, and also David Uessel, Conrad
Cummings, and Jean-Louis Richer, who helped with this first experiment of real sounds
processed with the MUSIC V program.
"Songes" was awarded the first prize for digital music at the 1980 Bourges Inter-
national Electronic Music Competition.
Milton Babbitt: Occasional Variations
Milton Babbitt was bom in 1916 in Philadelphia, Pa. He was educated in the
public schools of Jackson, Mississippi, and at New York and Princeton Universities.
His primary teacher of musical composition was Roger Sessions, with whom he studied
privately for three years.
At present, he is William Shubael Conant Professor Emeritus at Princeton Uni-
versity, where his teaching career began in 1938, including three years as a member
of the Mathematics faculty, from 1942-5. He also is on the Composition Faculty of
The Juilliard School, and has been a Visiting Professor at the Rubin Academy at
Jerusalem. He has taught, conducted seminars, and lectured at various universities
and schools of music in this country and in Austria, Australia, Canada, England,
Germany (Darmstadt) and Mexico.
He is a member of the American Academy and Institute of Arts and Letters, and a
fellow of the American Academy of Arts and Sciences.
His honors: include: two New York Music Critics Circle Citations (1949, 1964),
National Institute of Arts and Letters Award (1959); Brandeis University Gold Medal
(1970); National Music Award (1976); Pulitzer Prize Special Citation (1982); George
Peabody Medal (1983).
He has received honorary degrees from Middlebury College, New York University,
Swarthmore College, New England Conservatory, and University of Glasgow.
His articles have appeared in such periodicals as Perspectives of New Music,
Journal of Music Theory, Musical Quarterly, and The Score, and in anthologies, in-
cluding Perspectives on Contemporary Music Theory , Perspectives on Schoenberg and
Stravinsky , Perspectives in Musicology , Contemporary Composers on Contemporary Music ,
The Orchestral Composer * s Point of View, Twentieth Century Views cf Music History ,
Esthetics Contemporary , etc.
His most recent compositions are: Composition for Guitar; Lagniappe (for piano);
Concerto for Piano and Orchestra. He is, at present, composing a work for the
Philadelphia Orchestra.
The most recent recordings of his music are of Paraphrases (by Parnassus, on
CRI), Composition for Guitar (by David Starobin, on Bridge), piano music (by Robert
Taub, on Harmonia Mundi), while his Piano Concerto and The Head of the Bed are to
appear on New World Records in the fall of 1986.
Occasional Variations was commissioned, composed, and named for the occasion
of the opening of the Filene Center of Wolf Trap Farm Park, and was first performed
there in August 1971. Begun in 1968, completed in June 1971, the work was realized
entirely at the Electronic Music Center of Columbia and Princeton Universities on
the RCA Electronic Sound Symthesizer, still the only digital-analogue ’synthesizer"
of its kind for the completely electronic specification and generation of a musical
event, and the combination and succession of such events. This composition, accord-
ingly, can be presented only as emanations from loud-speakers of the musical "infor-
mation" contained on magnetic tape, representing the composer’s composition and
"performance" in a form mediated, but in no other sense dictated, by the Synthesizer.
If these are variations for an occasion, they are also only occasionally varia-
tions of the same degree of variational explicitness , induced by the same modes of
musical mutation, although the progression from the local detail to the total compo-
sition eventually clearly discloses a distinct articulation of the one-movement work
into three manifestly and mutually "parallel" sections (each itself variationally
bifurcated): "parallel" presentations of the same complete succession of twelve-tone
aggregates , identical to within the traditional means of transpositional, registral,
contour, timbral, and temporal variation in their non-traditional , uniquely electronic
extensions. "Occasion", in the sense of "point of time of an event", also should
suggest that in this composition those modes of structuring afforded by the singular
capacities of the electronic medium in the domain of musical time, rhythm in every
musical sense of the concept, are particularly determinative and pervasive.
-program notes by the composers-
Program Notes
Tuesday, August 5, 1986
Irving Fine: String Quartet
Irving Fine (1914-1962) is one of the most recent representatives of a distin-
guished tradition in American music - the Boston composer. But unlike virtually all
of his counterparts, he was born and educated in Boston and the surrounding areas in
addition to working there virtually all his life. His compositional studies were
carried on under the tutelage of Edward Burlingame Hill and Walter Piston at Har-
vard, followed by work with Nadia Boulanger in France. His connection with the
Boston Symphony Orchestra was long and deep. He studied conducting with Serge
Koussevitzky . For a decade from 1946 on he was on the Tanglewood staff, forming
part of a brilliant stable of younger (and some older) composers who shared a large
house in Richmond during those summers - Aaron Copland, Lukas Foss, Arthur Berger,
Leonard Bernstein, and others. Later Fine founded and built a first-rate music
department at Brandeis University. Those who knew Fine remember him vividly as a
warm and gracious man, a gifted composer, a generous colleague and teacher. His
premature death from a heart attack, which came quite unexpectedly just eleven days
after he had conducted the BSO In his last work, the Symphony (1962) at Tanglewood,
was a severe shock to those who knew him and a great loss to American music.
Fine's String Quartet was completed in spring 1952 on a commission from the
Koussevitzky Music Foundation. It was first performed that December by the Juilliard
Quartet in a concert at Brandeis University and repeated in a League of Composers
concert at the Museum of Modern Art in New York the following February. The work is
cast in two movements, the first prevailingly fast in tempo, the second prevailingly
slow. Both movements are cast In a three-part form, the middle section of which is
a strong contrast to the outer sections. Fine's earlier music was heavily influenced
by Stravinskyan neo-classicism. The composer noted, '‘This is the first work in which
I have employed the 12-tone technique with some consistency. While all of the melodic
material, the harmonies, and the figuration have been generated by the row, the use
of row technique is fairly free; and the work as a whole Is frankly tonal, C being
the prevailing tonality." The row gradually unfolds from the opening gestures,
though with much repetition of sections of it as motivic figures. Once the Allegro
risoluto gets firmly under way, the meter settles into a regular 3/4. This is re-
tained through most of the slower middle section as well, which has the air of a
ghostly, half-remembered waltz that builds in movement and energy to a return of the
opening tempo and the "recapitulation." The second movement begins with sustained
chords, against which one instrument or another rhapsodizes- on a repeated-note
figure with the characteristic rhythm. The level of activity builds as all four
players begin moving homophonically and the tempo steadily accelerates to the central
section, then gradually slackens off again until the movement dies away on a sus-
tained G harmonic in the cello punctuated by repeated C-sharps in the viola.
Henri Dutilleux: Ainsi la nuit
Though one of the most respected of contemporary composers, Henri Dutilleux
remains relatively little know. He is a careful, fastidious worker, never eager to
rush the completion of a piece, and he has destroyed a number of his earlier composi-
tions that, to his mind, too strongly reflected the youthful influence of Ravel in
particular. Thus, oddly enough for a composer who has reached threescore and ten,
his reputation is based almost entirely on a handful of pieces composed since the
Second World War: the piano sonata of 1947, two cymphonies (1950, 1958-59), the
second of which was commissioned by the BSO for its 75th anniversary. Metaboles, a
cello concerto, a recent violin concerto, and a few chamber compositions, of which
the string quartet, Ainsi la nuit ("Thus the night") is the most recent. Dutilleux
has never fit into any of the pigeonholes of contemporary composition, has never
been part of a "school." In 1966 he defined the character to be found in all of
his works: "First, in the realm of form, a careful avoidance of prefabricated formal
scaffolding, with an evident predilection for the spirit of variation. Further, a
penchant towards a certain type of sonority (with priority given what might be
called 'the joy of sound'). Again, an avoidance of so-called program music, or
indeed of any music containing a message, even though I do not of course deny in
our art a meaning of a spiritual order. And finally, at a more technical level,
the absolute necessity of choice , of economy of means."
Ainsi la nuit is an excellent illustration of these comments. The quartet was
composed in 1975-76 on a commission from the Koussevitzky Music Foundation at the
Library of Congress and is, in part, dedicated to Olga Koussevitzky. Ainsi la nuit
received its American premiere from the Juilliard String Quartet, which is performing
it again this year for the composer's 70th birthday (and which will record the work
later in the year). Despite the titles of the various movements, Dutilleux is
interested especially in the quality of sound, giving his music a kind of French
mysticism. As a whole the quartet is an extended variation form, the material
growing and developing movement by movement. Each movement is preceded by a paren-
thetical introduction that generates the variation, and the music that was heard at
the very beginning of the quartet is still present at the very end.
-2-
Bela Bartok: String Quartet No. 5
The fifth of Bartok' s canon of string quartets was commissioned by the Elisa-
beth Sprague Coolidge Foundation. Bartok composed the score in the month between 6
August and 6 September 1934; it was first performed in Washington, D.C., by the
Kolisch Quartet on 8 April 1935. Bartok had not worked on a major composition since
completing the Second Piano Concerto in January 1931, but he filled the interval
with transcriptions of folk music and educational compositions. The renewal of his
contact with the sources of folk music (not only Hungarian, but also Slovak, Ruthe-
nian, Serbian, Ukrainian, and Arabic) was fruitful in paving the way for the new
quartet. As in the String Quartet No. 4, Bartok employs a favorite ground plan,
symmetrical arrangement of the movements. Here two slow movements are grouped
around a central scherzo, while two fast movements frame the whole. Each separate
movement, too, shows elements of this arch construction, from the simple ABA of the
central scherzo to the more complicated organization of the outer movements, in
which the themes are restated in the reverse order of their original appearance.
-Steven Ledbetter-
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Program Notes
Wednesday, August 6, 1986
Michael Torke: Ecstatic Orange
Michael Torke was born in Milwaukee, Wisconsin, on 22 September 1961. He re-
ceived his musical education at Eastman, graduating in 1984 with high distinction
and a performer's certificate. He did graduate work at Yale in 1984-85. He was a
Tanglewood fellow in piano in 1982 and a composition fellow the following year. A
recipient of the Rome Prize, he will be in residence at the American Academy in
Rome beginning September 1986. Michael Torke has supplied the following program
note:
Commissioned by ASCAP and Meet the Composer, Ecstatic Orange was x^ritten be-
tween June 1984 and February 1985, and then premiered by the Brooklyn Philharmonic
on May 10, 1985 at Cooper Union in New York City.
A meaning of the word "ecstatic" that associates most directly to the intent of
this piece is: uplifted frenzy. It is an earthy, physical kind rather than spiritual
or ethereal. The frenzy is, however, contained in a kind of stasis (like someone
confined to desk work as the caffeireof the morning's coffee reaches his blood). The
elements of rhythm and counterpoint are active in this piece while the melody and
harmonic language are static and untransposed. This musical state is maintained from
beginning to end expressing a single dramatic sweep.
The basic active material is a constant sixteenth note pulse which runs through-
out the piece as a grid that is shattered into fragments. These fragments form tiny
canons that sometimes disperse the basic melody and other times recombine in over-
lapping ways to etch out that melody.
The basic static material is 1) a five note melody, G#- A-D-C//-B-E (with the op-
tion to extend it with two more: G-D//) . The melody is not transformed or varied,
rather it appears in its same order in different contexts. It is as though the
insistent melody wears different clothes as the piece proceeds. 2) a four bar bass
line with low E as the fundamental note, with the fourth bar serving as a periodic
turnaround to lead into its repeat. (There is a slight influence from the bass line
in the Talking Heads song, "Girlfriend is Beater," which functions in the same way.)
3) The harmonic world of E mixolydian.
A listener might have the expectation that a piece whose intent is to be "ec-
static," employing tight rhythmic fragments to form an increasing tension, would aim
all the elements of the music towards maximum movement. But in this piece the non-
transposing features such as the five note melody and the E mixolydian harmony work
tox^ards a stasis, not towards movement or progression. This does not contradict the
general musical animation. Think of the athlete working out on a stationary exer-
cise bike. He is burning the same calories as the cyclist on the road. The dif-
ference is the focus of energy.
So ideas of static and ecstatic, possibly antithetical, can actually work
together in a unified way.
It was once suggested to me that one way to create a musical form is to estab-
lish a point of reference; for instance, create a room, then move axvay; walk outside
of that room, and then finally return. Sonata form works that way, as do popular
songs with a verse and chorus. My feeling now is there is alot of interesting things
in a room once the room is established. Why walk away from a good party?
As the music began to center increasingly around this G# melody, the color
orange burned more insistently in my imagination. Certain musical ideas make me
think of colors. This personal synesthesia contributed its ovm vibrancy to my atti-
tude towards the material. In the end, different shades of paint splash around the
orchestral forces, but it is always some hue of orange.
Robert Saxton: Concerto for Orchestra
Robert Saxton was born in London in 1953. He began composing at the age of six
and studied privately with Elisabeth Lutyens from 1970 through 1974. He took his.
degree at Cambridge University in 1975, where he studied for one year with Robin
Holloway, and then took his BMus at Oxford in 1976. He also had a number of lessons
with Luciano Berio at that time. In 1975 he was awarded first prize composition at
the International Gaudeamus Music Week in Holland.
Mis most recent works have included Concerto for Orchestra, the Ring of Eter-
nity, commissioned by Oliver Knussen for the St. Paul Chamber Orchestra, and The
Sentinel of the Rainbow commissioned by the Fires of London, The Circles of Light,
a chamber symphony for the London Sinfonietta, and a Viola Concerto, commissioned
by the Cheltenham Festival and premiered in July 1986 by the Scottish Chamber Orch-
estra with soloist Paul Silverthorne .
Robert Saxton taught composition and analysis at the Guildhall School of Music
and Drama from 1979 through 1984 and has lectured in music for the past two years at
Bristol University. In 1983 and 1984 he was PetSr Maxwell Davies assistant at the
Dartihgton International Summer School and is currently the holder of the 1985/86
Fulbright Arts Fellowship in Musical Composition to the USA, where he is a visiting
fellow at Princeton. He has provided the following program note for his concerto:
My Concerto for Orchestra was commissioned by the BBC in 1981; after a false
start it was begun again in 1983 and completed in April 1984. The basic concept of
the work is similar to that of several other recent pieces of mine, namely the idea
of creating a large-scale harmonic scheme which returns at the close to the original
-2-
i
point of departure, but without a sense of true finality. The idea which lies behind
the piece relates to the Hekhaloth tracts, Jewish writings which describe the mysti-
cal experience of journeying through the seven heavens and the seven palaces in the
highest heaven until the Divine Presence in reached: after the brightness and some-
times fearful qualities of the celestial palaces the eventual goal is total simplic-
ity, calm and infinite light. It was believed that this mystical progress could be
experienced during Life or after Death or both. The idea of this process being re-
peated suited my formal ideas. The music proceeds from the opening ten-note flicker-
ing chord in the violins and the low B flat/E natural bass tritone tracing three
large paragraphs divided into sections which play continucudy; B flat and E natural
are the central pitches and are pivot notes around which much of the harmony re-
volves. Although the music is not literally descriptive, I have attempted to reflect
some of the ideas described In the Hekhaloth writings such as the contrast between
light and darkness heard at the outset, and to place forward-moving dancing contra-
puntal writing of a ’rejoicing* nature alongside more contemplative passages of rela-
tive stasis. At the end, after the opening music has returned, reaching a final
tutti climax, a slow sustained section of great simplicity is heard which eventually
dies away leaving only the notes B flat and E natural sounding before the music dis-
appears inconclusively as though the entire journey must go round and begin again.
The orchestra Is used in a constantly changing number of 'choruses' and the title
refers to this ensemble aspect of the orchestral writing. The work is dedicated to
Stephen Plaistow, chief producer, contemporary music at the BBC.
I would like to thank Professor Raphael Loewe of University College, London, for
his help and patience in answering my questions about the Hekhaloth tracts and their
interpretation.
Toru Takemitsu: Dream/Window
Toru Takemitsu was born in Tokyo on 8 October 1930 and lives there. The leading
Japanese composer of the present day, he is widely performed all over the world.
Takemitsu' s musical career came about as an unlikely result of an accident that
occurred when he was sixteen. While mountain climbing, he dropped his camera into a
waterfall. In trying to retrieve it, he caught pneumonia, and he was forced to spend
a long period convalescing at home. There he listened to music on the radio for
hours on end and - though he had never studied music up to that time - decided to be
a composer. He bought scores and taught himself to play the piano. Though he be-
came a private pupil of Kosuji Kiyose at the age of eighteen, he is largely self-
taught as a composer. Within three years he had organized Tokyo’s Experimental Work-
shop, a society for the performance of avant-garde music, and in 1966 he created with
Seiji Ozawa and Toshi Ichiyan^gi, the group Orchestral Space. This summer he is
visiting Tanglewood as artist-in-residence.
Takemitsu 's earlier music made fleeting obeisance to the expressionism of the
second Viennese school or to the melodic and harmonic gestures of French music in
this century from Debussy to Messiaen. But for the most part his music is entirely
sui generis . His rhythms are characteristically irregular and very flexible. His
harmonies are not functional. For the most part, he has been interested in timbre
and texture, in the most varied and delicate colors of sound - and, as a corollary,
with silence. Much of his music finds inspiration in poetry, especially his favorite
writer, Mahota Ooka, who is a contemporary of Takemitsu 's.
Takemitsu 's titles often come from Japanese poetry. In the present instance,
though, the title Dream/Window is actually an English translation of the name of a
famous 16th-century Zen priest. Mu Soh, who was responsible for the creation of many
famous gardens, especially in the region of Kyoto, which was, for a thousand years,
the capital of Japan. His gardens are representative of the Zen interest in simpli-
city, space, and proportion. Takemitsu finds his very name, "Dream/Window" evocative,
in that a dream is something entirely internal, while a window is an opening to the
external world. "This dynamism is very impressive for me," says the composer. "It
is like the city of Kyoto - very traditional, but with dots of energy." Dr earn/ Window
was commissioned for the anniversary of a Kyoto bank and given its first performance
in 1985 by the Kyoto Symphony Orchestra under the direction of Seiji Ozawa.
Poul Ruders: Manhattan Abstraction
Poul Ruders was born in Ringsted, Denmark in 1949. His composition studies were
completed at the Academy of Music, Odense where his teacher was lb N^rholm.
Throughout his career Ruders has worked as a church organist. This has suited
his skills as an improviser and has also perhaps deeply influenced his writing - which
may seem to be rather incongruous for a composer whose music appears to be particu-
larly profane. Thus, it may have been his work as an organist that awakened his
interest in medieval music, the use of which in Ruders' earlier works is colored by
an irony similarly found in Peter Maxwell Davies' music. Further, in recent years,
his application of the English technique of change-ringing as a formal process can
be seen as a result of his church experience.
Recent works by Ruders have involved an integration of the various influences
that appeared one by one in his early career. A frequent use of 'found' objects -
particularly of early music - a strong rhythmic propulsion featuring bright instru-
mental colors, a desire to explore the theatrical possibilities inherent in pure
sound all characterize Ruders' later output.
Notable amongst works of the past few years are 4 Compositions (1980, for nine
players), Manhattan Abstraction (1982) for large orchestra, 4 Dances in One Mcve-
ment ( 1983, for fourteen players, commissioned by the London Sinfonietta) and
Corpus Cum Figuris (1984, for twenty players, commissioned by the Ensemble Inter-
Contemporain and Danish Radio). He has provided the following program note:
Manhattan Abstraction is, as the title indicates, a symphonic abstraction of a
fascinating metropolis, at the same time the most beautiful and the most ugly.
The sub-title of the work - "a symphonic sky-line" - points out that the struc-
ture of the music mirrors the very profile of the Isle of Manhattan, which in clear
weather makes the most breathtaking and powerful man-made piece of sculpture on the
globe. Thus Manhattan . Abstraction is a homage to and a vision of this giant maze
of concrete, glass and chrome. I do not try either to include the folklore of the
numerous ethnic minorities or to conjure up the rumbling of the milling crowds and
the traddic chaos. Manhattan Abstraction is pure polyphony, a symphony of avenues
and streets. The tunes are about themselves, so to speak, including the slow violin
solo, which is allowed to associate with the more rustic Manhattan of by-gone days.
The overall architecture, however, of Manhattan Abstraction - i.e. that of a
towering symphonic monolith - derives from one source of inspiration: the profile
of New York City, as seen from Liberty Island, one icy-cold day in January, with its
clear, open sky and dazzling sunlight.
-Steven Ledbetter-
Program Notes
Electro-Acoustic Prelude, August 7, 1986 7:30 pm
Heinrich Taube: Jubjub
Heinrich Taube received his B.A. and M.A. from Stanford University, where he
studied with Leland Smith and John Chowning, and his Ph.D. from the University of
Iowa, where he studied under D. Martin Jenni and William Hibbard. During his course
of study Mr. Taube was awarded a stipend for study at the electronic music studio
affiliated with the Heinrich-Strobel-Stiftung des Sudwest funks in Freiburg, West
Germany, and the Philip Greeley Clapp Award in Composition from the University of
Iowa. In 1986 Mr. Taube received a Rockefeller grant to support his work at Center
for Computer Research in Music and Acoustics (CCRMA) , where he is currently a.-guest
composer.
The composer would like to express his gratitude to CCRMA (John Chowning,
Director) where this piece was realized, and to acknowledge Bill Schottstaedt for
the use of his FM violin algorhythm, and Michael McNabb for the use of his additive
systhesis voice instrument.
Charles Dodge: The Waves
Charles Dodge studied composition at the University of Iowa and Columbia Uni-
versity where his principal teachers were Richard Hervig, Chou Wen-chung and Otto
Luening. Mr. Dodge studied computer music with Godfrey Winham at Princeton Univer-
sity and has been active as a composer of computer music since the mid-1960s.
Dodge’s works are also recorded on Nonesuch, Composers Recordings, Inc., Crystal,
1750 Arch, Fylkingen, and Folkways record labels. He has been commissioned to write
works by the Fromm Foundation in association with the Berkshire Music Center, the
Koussevitzky Foundation at the Library of Congress, Nonesuch Records, Ronald Ander-
son, Stephen Montague with funds provided by the British Arts Council, Swedish
National Radio, the American Composers Orchestra, and the MIT Experimental Music
Studio.
"The sun had not yet risen. The sea was indistinguishable from the sky, except
that the sea was slightly creased as if a bloth had wrinkles in it. Gradually as the
sky whitened a dark line lay on the horizon dividing the sea from the sky and the
grey cloth became barred with thick strokes moving, one after another, beneath the
surface, following each other, pursuing each other, perpetually."
-Text from The Waves by Virginia Woolf, used with permission of the Hogarth
Press, London.
The Waves is a work for singer and computer, based upon the first paragraph of
Virginia Woolf's novel by the same name. In this opening passage, Woolf moves from
objective description of dawn on the sea to a more subjective response to the scene.
Woolf's use of language often nirrors the process being described - for example, near
the end of the paragraph, suggesting the perpetual rhythm of the waves themselves.
In Dodge's composition, the musical patterns also exhibit wavelike forms, in a number
of ways.
Dodge wrote The Waves for Joan LaBarbara, who performs live to an accompaniment
based upon the qualities of her own voice. All the sounds in the computer part were
derived from a recording of LaBarbara reading this passage from The Waves and singing
examples of extended vocal techniques. The particular techniques involved were multi-
phonics (uncharacteristically low tones that have a strong frequency component at
the octave) and reinforced harmonics (intoning in such a way that individual harm-
onics can be clearly heard above the fundamental frequency). The folk-like melodies
heard near the end of the x^ork, for example, are the actual sound of LaBarbara' s
reinforced harmonics, enhanced by computer processing.
The computer part entailed no speech synthesis - a technique used in many of
Dodge's other computer music works. Rather, the recorded voice is employed here as a
sound source for computer extension and enhancement, and also as a model for the
frequency and amplitude of computer-synthesized sounds. John Stautner of the MIT
Studio staff was central to the completion of the work. Stautner 's auditory trans-
form analysis software was used to track the pitch of the voice and to isolate
certain features of the speech. He collaborated closely with Dodge to help design
the computer-synthesized and -enhanced sounds in the work.
The Waves was commissioned by the MIT Experimental Music Studio as part of its
New Works program, funded by a grant from the Massachusetts Council on the Arts and
Humanities. The v/ork has been recorded on compact audio disc, as part of a collec-
tion of works realized at the MIT Studio.
program notes by the composers
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Program Notes
Thursday, August 7, 1986
Igor Stravinsky: Duo Concertant
Stravinsky composed his Violin Concerto in 1931 for the young Samuel Dushkin.
Although Stravinsky (as conductor) and Dushkin (as soloist) received invitations to
play the concerto all over Europe, the composer realized that their performances
were limited to cities with a capable orchestra. It occurred to him that concerts
might be more easily arranged if he wrote something for piano and violin; then he
and Dushkin could perform almost anywhere. The result was the Duo Concertant , com-
posed between December 1931 and mid-July 1932, In his later years, Stravinsky re-
called that the work was in part inspired by a book on the Italian poet Petrarch,
which led him to aim at a kind of lyrical treatment related in some way to pastoral
poetry. Though some passages in the Duo Concertant may suggest the spirit of pas-
toral life, it is at least as likely that Stravinsky was concerned with the tech-
nical problem of combining the percussive sound of the piano with the continuously
produced sound of bowed strings. Despite the composer's apparent desire to make
the work appear to be little more than a compositional exercise, he exploits various
features of both piano and violin to produce an effective concert piece.
Stefan Wolpe: Piece in two parts for violin alone
Stefan Wolpe was born in Berlin in 1902 and died in New York in 1972. During and
after formal studies with Juon and Schreker in Berlin, he became involved with a
group of artists and musicians intent on furthering the cause of radical socialism.
At this time he composed music in a simple but forceful tonal idiom, though he used
atonality for his concert works. He left Germany in 1933, and went to Palestine,
where he explored his Jewish heritage while, at the same time, developing his own
solutions to questions of atonality. He came to the USA in 1938, and, after teaching
in a number of institutions, settled in New York, where his teaching was a dynamic
influence on a number of composers, including Morton Feldman, David Tudor, and Ralph
Shapey. His last eight years were a constant battle against the progressive dis-
integration of Parkinson's disease, though at the same time he succeeded in producing
several important works and influencing an entire generation of composers, especially
in New York.
The Piece in 2 Parts for solo violin (1964) begins with a very rhapsodic move-
ment based on a small set of notes (not all 12 pitches of the chromatic scale) .
The musical ideas leap from one type of expression to another with hair-raising
rapidity. One special effect that characterizes this movement is the use of col
legno tratto (that is, using the wood side of the bow and drawing it across the
strings). The second movement gives the impression of being more tightly composed,
or at least of growing out of a more limited repertory of gestures. The principal
elements consist of relatively slow phrases in longer note values and their foil,
sections with motoric eighth-note figures that start as short fragments early in
the movement but take on greater importance as it progresses.
Olivier Messiaen: CanteyodjayS
Born in Avignon in 1908, Olivier Messiaen has long since been recognized as one
of the most influential composers of this century. His most important contributions
have been in the realm of rhythm, which he has studied diligently all his life - not
only rhythms that have been employed in traditional European concert music, but also
the rhythms of the Greeks and Hindus. His rhythmic investigations played a role in
the extension of serial technique to all the parameters of music, not just pitch,
an issue that was particularly vital right after the Second World War.
In Canteyodjaya Messiaen wrote an extensive passage in which he associated
each pitch in a "mode" with a particular duration and intensity. Thus each sound
in the passage had a complete identity from the outset. He also serialized the
durations, using multiples of sixteenth or thirty-second notes in the same way that
Schoenberg had employed the 12-tone row. In Canteyodjaya there is a passage (later
repeated) in which the texture thins to two parts, as the pianist's right and left
hands play the range of durations in direct and retrograde forms simultaneously: one
hand starts with very slow notes, which speed up by one unit at each attack; the
other hand starts with very fast notes, which become one unit longer at each attack.
Lest all this sound forbiddingly calculated, it is worth pointing out that
Canteyodjaya is built of recognizable, discrete sections. These are labelled with
Hindu words, which are not explained in the score, though they seem to reflect the
particular rhythmic characteristic or style of each section; the title of the piece
is used as a label for the opening material, which returns quite frequently. The
various sections offer a great variety of different textures and different degrees
of rhythmic complexity. The result is a dramatic, colorful, and inclusive score,
a major contrlbntlnn to the piano literature.
-2-
Toru Takemitsu: From Far Beyond Chrysanthemums and November Fog
Toru Takemitsu was born in Tokyo on 8 October 1930 and lives there. The leading
Japanese composer of the present day, he is widely performed all over the world.
Though he became a private pupil of Kosuji Kiyose at the age of eighteen, he is
largely self-taught as a composer. Within three;. years he had organized Tokyo’s Ex-
perimental Workshop, a society for the performance of avant-garde music, and in 1966
he created, with Seiji Ozawa and Toshi Ichiyanagi, the group Orchestral Space. This
summer he is visiting Tanglewood as art is t- in- residence .
Takemitsu 's earlier music made fleeting obeisance to the expressionism of the
second Viennese school or to the melodic and harmonic gestures of French music in
this century from Debussy to Messiaen. But for the most part his musiciis entirely
sui generis, with rhythms that are characteristically irregular and very flexible and
non- functional harmonies. For the most part, he has been interested in timbre and
texture, in the most varied and delicate colors of sound - and, as a corollary, with
silence .
From far beyond Chr .santhemums and November fog, a 7-minute work in one movement
for violin and piano, was commissioned by the committee for the Second International
Competition of Japan in December 1983 as an obligatory work for the competition.
The poetic title came from a stanza of "In the shadow" by Mahota Ooka, Takemitsu’s
favorite poet. The structure of the work is based on the six "dominant" notes B-
flat, C, E, F-sharp, G, and A-flat. The remaining six notes of the chromatic scale
(D, E-flat, F, A, B, C-sharp) are described by Takemitsu as "shadows." As befits an
obligatory work for an international competition, the piece requires the performers
to demonstrate a wide range of expressive and playing techniques, but these are all
subsumed within the composer's poetic expression.
Stefan Wolpe: Sonata for violin and piano
Wolpe’s violin sonata is an enormously difficult work to perform for both the
pianist and the violinist. Not only is each part technically demanding, their inter-
relationship is exceedingly complex. Wolpe often put the barlines in different
places in the violin or piano part, in an attempt to indicate natural stresses in
the lines, and frequently he even put the barline in different places for the piano's
right and left hands! The complex rhythms of the work are allied with difficult
atonal pitch choices, and the whole continues, virtually without any slackening of
tension throughout the half-hour work. Wolpe 's music drives with an irregular
pulsing energy from beginning to end, even in the comparatively tranquil slow
passage.
-Steven Ledbetter
:,-'M q r-.
Sunday, August 10, 1986 at 10:00 A.M.
Theatre Concert Hall
PAe.paAe.ct by Donald MacCount, Joel KnoAnlck,
Gllbent KallAh, and Philip Hlghfilll
REYNALDO HAHN FIVE SONGS
Quand je fus pris au pavilion
Chanson au bord de la fontaine
Dans la nuit
Le rossignol des lilas
Le pr in temps
Dnew Abbott, tenoA
Michael Beattie, piano
RAVEL LE TOflBEAU DE COUPERIN
(arranged for Wind Quintet by Gunther Schuller)
Prelude - Vi f
Fugue - Allegro moderato
Forlane - Allegretto
Fiqaudon - Assez vif
Menuet - Allegro moderato
Toccata - Vif
May ik SpaAkA, folate Lee CoaaoZZ, claAlnet
AZexa 1 lAbel, oboe '■■ ■ Jon GoandeA, baAAoon
Tod BaoenmaAteA, ho An
SHOSTAKOVICH QUARTET NO. 7, Opus 108
Allegretto
Lento
Allegro, Allegretto
VlonlAla FeAnandez, violin Tnlnh Le Tnuna, viola
Elizabeth Suh, violin Michael StlAllng, cello
SCHUBERT FIVE SONGS
Der Husensohn
Na'he des Geliebten
Erlafsee
Dass sie hier gewesen
Suleikas erster Gesang
Anne VeVAleA PlchaAdAon, AopAano
Philip Hlghfilll, piano
CRUMB MADRIGAL BOOK II
Adam Kuenzel , alto filute John JutAum, peAcuAAlon
Dominique LaBelle, Aopnano
BRAHMS > QUINTET IN G MAJOR, Opus 111
Allegro non troppo, rna con brio
Adagio
Un poco Allegretto
Vivace, ma non troppo presto
Steven MUleA, violin Tomoko Suzuki, viola
Sana PaAklnA, violin MencedeA Leon, cello
AndAeA Diaz, cello
BALDWIN PIANO
TANGLEWOOD MUSIC CENTER
The Tanglewood Music Center is maintained by the Boston Symphony Orchestra to
offer advanced training in music to young musicians of exceptional promise. The
Orchestra underwrites the cost of operating the Music ,Center with generous help from
donors to the Annual Fellowship Program and with the sustaining support of income
from the following permanent endowment funds:
Endowed funds for support of the instructional and performance program:
Mr. & Mrs. Edward L. Bowles Marian Douglas Martin Memorial
Mr. A. Werk Cook (Marilyn Brachman Hoffman)
Charles E. Culpeper Foundation Edward Shufro
The Honorable & Mrs. John H. Fitzpatrick Surdna Foundation Master Teacher
Peter H.B. Frel inghuysen William and Juliana Thompson
Louis Krasner Carl A. Weyerhaeuser 19G6 Trust
Anonymous (2)
Endowed Guarantor Fellowships
BayBanks
Leonard Bernstein
Charles E. Culpeoer Foundation
Omar del Carlo
Clowes Fund
Fernand Gil let Memorial
Marie Gil let
Ruth and H. Eugene Jones
Dr. John H. Knowles Memorial
Albert L. and Elizabeth P. Nickerson
Seiji Ozawa
Reader 's Digest
Peggy Rockefeller
Morris A. Schapiro
Anonymous
Endowed Fellowships in the Following Names:
Mr. and Mrs. David B. Arnold, Jr. Ina and Haskell Gordon
Kathleen Hall Banks John and Susanne Grandin
Leo L. Beranek The Luke B. Hancock Foundation
Leonard Bernstein Harold Hodgkinson
Frederic and Juliette Brandi C.D. Jackson
Brookline Youth Concerts Awards Committee Philip and Bernice Krupp
Rosamond Sturgis Brooks Memorial
Helene R. and Norman L. Cahners
Marion Callanan Memorial
Stanley Chappie
Alfred E. Chase
Nat King Cole Memorial
Caroline Grosvenor Congdon Memorial
Tappan Dixey Memorial
Arthur Fiedler/Leo Wasserman Memorial
Dr. Marshall N. Fulton Memorial
Juliet Esse! born Geier Memorial
Gerald Gel bloom Memorial
Armando A. Ghitalla
Lucy Lowell
Robert McClellan/ IBM Matching
Stephen and Persis Morris
Ruth S. Morse
Northern California Fund
Theodore Edson Parker Foundation
David R. and Muriel K. Pokross
William and Lia Poorvu
Daphne Brooks Prout
Harry and Mildred Remis
Hannah and Raymond Schneider
Surdna Foundation, Inc.
R. Amo ry Thorndike
Augustus Thorndike
William E. Crofut Family
Endowed Scholarships
Claire and Millard Pryor
Eno Ethel Barber
Berkshire Chair
Alice Willard Dorr Foundation
Carlotta Dreyfus
Selly Eiseman
Frel inghuysen
Jascha Heifetz
Howard/Ehrl ich
Koussevitzky Centennial
W1 1 1 i am Krol 1 Memori al
Dorothy Lewis
Other Funds
Charles E. Merrill Trust
Northern California Audition
The Rothenberg/Carlyle Foundation Library
Asher J. Shuffer
Edward G. Shufro
Mary H. Smith
Albert Spaulding
Jason Starr
TMC Fiftieth Anniversary
TMC General Scholarship
Anonymous
The F rlendA c/ MuaIc at Tanglewood, an organization o{} nuAlc loveAA and
patronA, generouAly Aupport the operation ofi the Tanglewood MuaIc CenteA. TrlendA
one Invited to all concertA o{\ the Tanglewood MuaIc CenteA with a family Season
WembeAAhlp o $ $60, oa an Individual SeaAon MembeAAhlp ofi $40. OtheAA attending
each TMC event aAe a&ked to contribute a minimum otf $5.00 at the gate, •? 6.00 fior
uAcheAtAa concentA.
The Tanglewood MuaIc CenteA Ia oJLao Aupported by a grant rom the National
Endowment j \or the HumanltleA .
TranAlationA
Five SongA, by Re.yyud.do Hahn
Quandje £jjl& p/Ui au Pavilion
when iwoa taken to the pavMion
Oh wy madam , very gentile and beauty ul
I burn myAclh on the lamp
tike the butterhly doei>.
J bluAh deep tied
At the tight oh the Apark
When I woa taken to the paviltion
Oh my madam, very gentile and beautiful.
li I had been a blackbird
Or that I had cla good a wing
I would protect myAelh hrom' her
Who welcomed me with a Atlng
When I woa taken to her pavlltion.
ChanAon au bo Ad de la h ontalne
dh white do vet o/, the evening.
When I come to Alt on the Atone oh the
fountain.
At the houA all Ia black
J will tell you my gAeat pain
And my hopeA.
Oh white doveA oft the evening,
Send youA queen to the ( clotheA ) waAhlng
Aide oh the AlveA ;
I will tell hcA why I carry thlA despair
I will tell- hex my gAeat pain
And my hopeA.
VanA la null
When I come Alt down In the wind, In the
night ,
At the end oh the Aock, all alone,
When I no longeA heaA the Aound my heaAt
makeA In thlA woAld, while listening
to you,
Vo not content youAAeltf, Ocean,
To thAow on my lace a little h 'oam!
With the creAt ofi a wave It will then
have to take me to Aleep In you/ 1
blttCAnCA A !
Le AQAAlgnol deA iUlaA
Oh {lAAt nightingale that ccmeA In the
HlacA, undeA my window,
Youa voice Ia Awc'et to AiAognlze!
No accent Ia ccvi'GAahle to yon-: a l
Fciri' y/l to i>-' ' u.’ n vcwa .
Trill r \ cl vine little bring!
(/' i ' l:’ ■ nil ir.c tie r. Uck ccr,e,j In the
'Ay O.',O.0Jl Wi-h'JW!
d/.gtt vA morning, now much youA hymn oh
love penetAoteA me,
So much azdor b/UngA horth In me
The echo oh my ApnllA by-gone,
Oh h-iAAt nightingale that comeA!
Le vAlntemoA
Here you core Amlle oh Ap/Ung:
The budA oh liiacA hlower!
The cherished Iovcaa [h^-owem) dellveA
their bloating hcoO i
UndeA the a ayA oh gold Aun buAAt the old
Ivy wither a .
Here you are, 6 mule oh Ap/Ung :
The budA oh lllrcA bloom!
Let ua lay cot ike Aide oh the poolA ao
that ooor bitter hu/otA heat
Many hdbooiouA hopeA nou/UAk cua tender
and trembling heart.
Here you core Amlle oh Ap/Ung.
Five SongA, by Schubert
Ver MuAenAohn {The Muac’a Son)
Wandering through field and ho AOAt
My little Aong whlAtleA
And ao It goeA hrom place to place!
And to the beat It moveA
And to the meaAure It AtlAA ItAelb ho/ith.
1 can Acarcely OLvalt It,
The hlhAt bloom In the garden
The h'&obt bloAAom on the tree.
They greet my AongA
And Ahould winter come again
2 will a till- Alng that dream.
I Alng it In the dlAta.nee
At the length and breadth oh the lee.
There bloomA the winter beautlhully.
ThlA bloAAom oIao dlAappeart
And new Joy hlndA itAelf
At the height oh the hilltop.
Then nea/i the linden tn.ee
I hind the young Iovcaa
So immediately I excite them.
The dull hollow/ puhh^ him a el h up
And the young maiden danceA to my melody.
You give my h<eet wing,
Akd you drive your darling through valley
and hillA,
Far hrom home.
You lovely Aweet muAeA
When will I reAt again hlnally on her
breaAt ?
Nake deA Gellebten [NearneAA oh the
I think dh you, when the Aun' a gleam
AlUneA on me hrom the Aea.
I tiUnk oh you, when the moon’ a glimmer
iA rehlocted in the hountaln.
I Ace you, when on the remote pathway
the duAt Ia ll{\ted;
In the deep night, when on the narrow
hootb/Udge the wanderer AhlverA.
I hear you, when there, with a heavy roar
the wave aIaca.
In the Atlll wood, where I ohten go to
llAten, when all Ia Ailent.
I am near you ; you are ao h0^, * lJ0t, you
are near, to me!
The Aun AlnkA, Aoon the Atan> give light
to me.
0 , that you were here!
ErlahAee
It Ia ao good to me, yet ao palnhul at
the Atlll Enlah Lake.
Holy Alienee In the plnetree branches.
The blue depthA move hAeely,
only the cloudA AhadowA escape over the
dim looking glaAA there.
FreAh wind gently /UpplcA the wcuterA,
And the Aun' a golden crown glimme/iA
wanly'.'::.
It Ia ao good to me, yet ao palnhul at
the Atlll Enlah Lake.
TANGLEWOOD MUSIC CENTER
The Tanglewood Music Center is maintained by the Boston Symphony Orchestra to
offer advanced training in music to young musicians of exceptional promise. The
Orchestra underwrites the cost of operating the Music .Center with generous help from
donors to the Annual Fellowship Program and with the sustaining support of income
from the following permanent endowment funds:
Endowed funds for support of the instructional and performance program:
Mr. & Mrs. Edward L. Bowles Marian Douglas Martin Memorial
Mr. A. Werk Cook (Marilyn Brachman Hoffman)
Charles E. Culpeper Foundation Edward Shufro
The Honorable & Mrs. John H. Fitzpatrick Surdna Foundation Master Teacher
Peter H.B. Frel inghuysen William and Juliana Thompson
Louis Krasner Carl A. Weyerhaeuser 19G6 Trust
Anonymous (2)
Endowed Guarantor Fellowships
BayBanks
Leonard Bernstein
Charles E. Culpeoer Foundation
Omar del Carlo
Clowes Fund
Fernand Gil let Memorial
Marie Gillet
Ruth and H. Eugene Jones
Dr. John H. Knowles Memorial
Albert L. and Elizabeth P. Nickerson
Seiji Ozawa
Reader's Digest
Peggy Rockefeller
Morris A. Schapiro
Anonymous
Endowed Fellowships in the Following Names:
Mr. and Mrs. David B. Arnold, Jr.
Kathleen Hall Banks
Leo L. Beranek
Leonard Bernstein
Frederic and Juliette Brandi
Brookline Youth Concerts Awards Committee
Rosamond Sturgis Brooks Memorial
Helene R. and Norman L. Cahners
Marion Callanan Memorial
Stanley Chappie
Alfred E. Chase
Nat King Cole Memorial
Caroline Grosvenor Congdon Memorial
Tappan Dixey Memorial
Arthur Fiedler/Leo Nasserman Memorial
Dr. Marshall N. Fulton Memorial
Juliet Esselborn Geier Memorial
Gerald Gel bloom Memorial
Armando A. Ghitalla
Ina and Haskell Gordon
John and Susanne Grandin
The Luke B. Hancock Foundation
Harold Hodgkinson
C.D. Jackson
Philip and Bernice Krupp
Lucy Lowell
Robert McClellan/ IBM Matching
Stephen and Persis Morris
Ruth S. Morse
Northern California Fund
Theodore Edson Parker Foundation
David R. and Muriel K. Pokross
William and Lia Poorvu
Daphne Brooks Prout
Harry and Mildred Remis
Hannah and Raymond Schneider
Surdna Foundation, Inc.
R. Amory Thorndike
Augustus Thorndike
William E. Crofut Family
Endowed Scholarships
Claire and Millard Pryor
Eno Ethel Barber
Berkshire Chair
Alice Willard Dorr Foundation
Carlotta Dreyfus
Selly Eiseman
Frel inghuysen
Jascha Heifetz
Howard/Ehrl ich
Koussevitzky Centennial
William Kroll Memorial
Dorothy Lewis
Other Funds
Charles E. Merrill Trust
Northern California Audition
The Rothenberg/Carlyle Foundation Library
Asher J. Shuffer
Edward G. Shufro
Mary H. Smith
Albert Spaulding
Jason Starr
TMC Fiftieth Anniversary
TMC General Scholarship
Anonymous
The F rlends orf Music at Tanglewood, an organization o & music lovexs and
patrons, genexously support the operation the Tanglewood Music Centex. Friends
axe tnotted to all concerts ofa the Tanglewood Music Centex with a Family Season
Membership oft $60, or an Individual Season Membership ofi $40. Others attending
each TMC event axe asked to contribute a minimum otf $5.00 at the gate, $6.00 fior
orchestra concerts.
The Tanglewood Music Centex li also supported by a grant firom the National
Endowment fior the Humanities.
TAanAlationA
Five SongA, by Re.ynaJC.do Hahn
Quand je fuA pAiA au Pavilion
WWiwdA taken to the. paviltion
Of my madam , veny gentile and beautiful
7 buAn myAelf on the lamp
tike the butt.eAfly doe*.
7 bluAh deep Aed
At the tight of the Apank
When 7 woa taken to the paviltion
0 f my madam , veAy gentile and beautiful.
If I had been a blackbird
0 A that I had oa good a uiing
J Mould protect myAelf fAom hoA
Who welcomed me with a a ting
When I woa taken to heA paviltion.
ChanAon au boAd de la ^ontalne
Oh white doveA oft the evening.
When I come to Ait on the Atone of the
fountain.
At the houA all iA black
I will tell you my gAeat pain
And my hope A.
Oh wlvite doveA of the evening,
Send tyoun. queen to the [clotheA) waAhlng
Aide of the Aiven;
I will tell heA why I coaaij thiA dcApaiA
7 will tell. heA my gAeat pain
And my hopeA.
VanA la nuit
When 7 come Ait down in the wind, in the
night ,
At the e.nd of the Aock, all alone,
When I no longeA heaA the Aound my heant
makeA in thiA wo Aid, while listening
to you,
Vo not content youAAel f, Ocean,
To thAow on my f ace a little loam l
With the cAeAt cl a wave it will then
have to take me to Aleep in youA
bitteAneAA !
Le AOAAignol dcA IaIoa
Oh fiAAt nightingale that ccneA in the
lilacA, undeA my window,
Voua voice iA AWc'et to Accogniz?,!
No accent is cc^i'ciAa^lc to hooaa!
FrJ/hi.vl to i- l>/ • n\. : * vw'A.
Trill civilly Tittle. being /
Ou iii'-e ic rAfick ccac'j in the
Hii a:. * , wvisJ c *-::j hI’-k'.jw!
I'legH cA rr/j rjiing , now much youA hymn of
love penetAateA me,
So much aAdoA bAingA foAth in me
The echo ot \ my ApnilA by-gone,
Oh fiAAt nightingale that comeA!
Le vAintempA
HeAe you core Amile of ApAing:
The budA of litacA floweA!
The cheniAhed Iovqaa IfloweAA) deliveA
thoJji floating haiA
UndeA the AayA of gold Aun buAAt the old
ivy witheAA .
Time you aAe, Amite of. ApAing:
The budA of lilacA bloom!
Let ua lay at ike Aide of the poolA ao
that oua bitieA huAtA heat
l\any fabulouA hope* nouAiAh oua tendeA
and tAembiing heant.
HeAe you one Amite of ApAing.
Five SongA, by Schubent
Ven MuAenAohn (The MuAe’A Son )
Wandening ihnough field and foneAt
My little Aong whiAtleA
And ao it goeA fnom place to place!
And to the beat it moveA
And to the meaAune it AtiAA itAelf fonth.
1 can A cancel y aivait it,
The fiAAt bloom in the ganden
The fiAAt bloAAom on the tnce.
They gneet my AongA
And Ahould winten come again
2 will Atill. Aing that dneam,
7 Aing it in the diAtance
fit the length and bncadth of the ice.
Thene bloomA the winten beautifully.
TIUa bloAAom oZao di&appeaAA
And new joy findA itAelf
At the height of the hilltop.
Then neon the linden tn.ee
I find the young Iovqaa
So immediately I excite them.
The dull fellow/ puff a him a elf up
And the young maiden danceA to my melody.
Vou give my feet wing,
f\kd you dnivc youn dancing thnough valley
and hillA,
Fan fnom home.
Vou lovely Aweet muAeA
When will I AeAt again finally on hen
bneaAt?
Nahe deA Geliebten [NeanneAA of the
Bel-oved )
7 think of you, when the Aun' a gleam . .
AhineA on me fnom the Aea.
1 think of you, when the moon’ a glimmen
iA ne fleeted in the fountain.
7 Ace you, when on the Aemote pathway
the duAt iA lifted;
in the deep night, when on the naAAow
footbAidge the wandeAeA AhiveAA.
7 heaA you , when thene, with a heavy a ooa
the wave AiAeA.
7 n the Atill wood, whene 7 often go to
liAten, when all iA Ailent.
7 am neaA you; you oac ao fan, yet, you
aAe nean to me!
The Aun AinkA , Aoon the Ataxt give light
to me.
0, that you weAe henc!
EAlafAee
It iA ao good to me, yet ao painful at
the Atill EAlaf Lake.
Holy Ailence in the pinetAee bAancheA.
The blue depthA move fAeely,
only the cloudA AhadowA cAcape oven the
dim looking glaAA theAe.
FAeAh wind gently AippleA the wateAA,
And the Aun’ A golden cAown glimmeAA
wanly j::.
It iA ao good to me, yet ao painful at
the Atill EAlaf Lake.
-2-
Vass sie hien gewesen! (That they have
been hene!
The east wind ' s ^nagnance whispens in the breeze,
theneby making it knom that you have, been heAe.
By th<i teans flowing hene you would know
Even ifi nothing else told you , that I have been hene.
Beauty on love, could eithen stay hidden?
Fnag nance and leans make it known that they have been hene.
Suleika
What does this movement mean?
Does the east wind bning me glad tidings?
The A.nesh stinning o{) his wings
Cools the heant's deep wounds.
Canessingly he plays with the dust,
He chases it into light little clouds ;
Vnives to the shelten o£ the vine- leaves
The cheenfiul swanm ofi insects.
Softly he tempons the sun's glow,
And cools my hot cheeks;
And in his ot'iwand flight kisses the vines
Resplendent on lield and hill.
And to me his light whispen bning s
A thousand gneetings {)nom my dean one :
Ene yet these hills gnow dank
A thousand kisses will, gneet me.
And so {East wind), you may pass on
youn way,
M inistening to 6 niends and to the
articled.
Thene, thene whene the high walls one
all. aglow,
I shall soon fiind my best beloved.
Ah, the heant’s tnue knowledge,
Love's bneath, life's nefineshment
Will come to me only {yiom his mouth;
Only his bneath can give them to me.
Madnigal, Book 11, by Geonge Cnumb
I. Vnink the tnanquil waten of, the antique song.
II. death goes in and out o& the tavenn. death goes in and' out, and out and in goes
the death o£ the tavenn.
III. Littie black honse. Whene one you taking youn dead niden? Little cold honse.
i'Jhat a scent ofi knifie-blossom!
A'
Tanelew®d Music Center
^ SEVENTH CHAMBER MUSIC CONCERT
Wednesday, August 13, 1985 at 8:30 p.m.
Theatre Concert Hall
VaepaAed by RogeA Voibin, Vehudi WyneA, GilbeAt Kalith,
Joel Kao a nick, and Eugene. LelmeA
BCHME
Adagio ma non tanto; Allegro mol to
Allegro vivace
Andante cantabile
Allegro con spirito
Many Weben, tnumpeX
Patnick Kunkee, tnumpet
Wetley Nance, tnumpet
SEXTET IN E-FLAT MINOR, OPUS 30
Linda VeRoche, ho fin
Scott McElnoy, tnombone
Je{)ieAy JanviA, tuba
JEFF BITZER PRELUDE AMD FUGUE FOR TWO PIANOS (1985)
Enika Nicknenz and Vaniel Shapino, pianist*
Originally from Madison, Wisconsin, Jeff Bitzer did his undergraduate work at
Oberlin Conservatory where he studied composition with Randolph Coleman. After two
years as composer and music director for a regional Midwest theater he moved to New
York where he is presently working on a Master's degree in composition at Columbia
University. Jeff Bitzer is a Fellow in Composition at the 1986 Tanglewood Music
Center.
'Prelude and Fugue for Two Pianos came out of a period a few years ago when I
had begun to ponder the vertical and horizontal asDects of musical space as they
related to my own sense of time - vertical ity for me being analogous to an attentive
but less willful state of mind, while "the horizontal" came to mean goal directed or
linear think inn.
It occurred to me then that in some ways a prelude and a fugue could be made to
act as psychological opposites: the former a rather blurred or wandering harmonic
exploration where musical events have a certain noninevitabil ity which encourages
the ear to listen more peripherally, while the latter is well suited to the role of
a storyteller, insistently focusing the listenino mind on the accumulation of inter-
relating details whose ultimate purpose is to forecast some reward.
Because I was so concerned at this time with what seemed to be powerful discre-
pancies between certain of my own nonlinear mental experiences and the basic premise
of my education - that meaning is achieved through hierarchies and significant
growth through goals, the music of Prelude and Fugue quickly became a conversation
between the vertical and the horizontal. By insertinn rather static fragments of
the prelude at important hierarchical points in the fugue - whose own recurring sub-
ject statements become progressively slower and more homophonic while episodes be-
come so dense that linear detail all but disappears, I attempt to keep both senses
of time on equal footing and on a larger level to mirror my own nagging suspicion
that hierarchies and goals, whether in musical or nonmusical thought may be entirely
imposed "realities," having no real value other than to provide much needed shelter
from the sense of knowing nothing.'
COPLAND
Allegro vivace
Lento
Finale
(Played without pause)
Hanganet Gicktelen, violin
Julia Bauma antel , violin
Lee Connell, claAinet
-J.B.-
SEXTET (1937) FOR STRING QUARTET,
CLARINET AND PIANO
Ri{)dt QuAethi, viola
Tnevon Handy, cello
CaAol Aachen, piano
JnteAmitAion
SHOSTAKOVICH
QUARTET HO. 7, Opus 108
Allegretto
Lento
Allegro, Allegretto
Vlonlbla FeAnandez, violin Think Le Thung, viola
Elizabeth Suk, violin Michael. Stlhllng, cello
BRAHMS TRIO FOR VIOLIN, HORN AND PIANO, Opus 40
Andante
Scherzo: Allegro
Adagio mesto
Finale: Allegro con brio
AaIc Vaacobl, violin Tod BoiveAmaAteA, kohn
Vanlel Skaplho, piano
BALDWIN PIANO
TANGLEWOOD MUSIC CENTER
The Tanglewood Music Center is maintained by the Boston Symphony Orchestra to
offer advanced training in music to young musicians of exceptional promise. The
Orchestra underwrites the cost of operating the Music Center with generous help from
donors to the Annual Fellowship Program and with the sustaining support of income
from the following permanent endowment funds:
Endowed funds for support of the instructional and performance program:
Mr. & Mrs. Edward L. Bowles Marian Douglas Martin Memorial
Mr. A. Werk Cook (Marilyn Brachman Hoffman)
Charles E. Culpeper Foundation Edward Shufro
The Honorable & Mrs. John H. Fitzpatrick Surdna Foundation Master Teacher
Peter H.B. Frel inghuysen William and Juliana Thompson
Louis Krasner Carl A. Weyerhaeuser 19G6 Trust
Anonymous (2)
Endowed
BayBanks
Leonard Bernstein
Charles E. Culpeoer Foundation
Omar del Carlo
Clowes Fund
Fernand Gill et Memorial
Marie Gill et
Guarantor Fellov/ships
Ruth and H. Eugene Jones
Dr. John H. Knowles Memorial
Albert L. and Elizabeth P. Nickerson
Seiji Ozawa
Reader's Digest
Peggy Rockefeller
Morris A. Schapiro
Anonymous
Endowed Fellov/ships in the Following Names:
Mr. and Mrs. David B. Arnold, Jr.
Kathleen Hall Banks
Leo L. Beranek
Leonard Bernstein
Frederic and Juliette Brandi
Brookline Youth Concerts Awards Committee
Rosamond Sturgis Brooks Memorial
Helene R. and Norman L. Cahners
Marion Callanan Memorial
Stanley Chappie
Alfred E. Chase
Nat King Cole Memorial
Caroline Grosvenor Congdon Memorial
Tappan Dixey Memorial
Arthur Fiedler/Leo Wasserman Memorial
Dr. Marshall N. Fulton Memorial
Juliet Esselborn Geier Memorial
Gerald Gel bloom Memorial
Armando A. Ghitalla
Ina and Haskell Gordon
John and Susanne Grandin
The Luke B. Hancock Foundation
Harold Kodgkinson
C.D. Jackson
Philip and Bernice Krupp
Lucy Lowell
Robert McClellan/ IBM Matching
Stephen arid Persis Morris
Ruth S. Morse
Northern California Fund
Theodore Edson Parker Foundation
David R. and Muriel K. Pokross
William and Lia Poorvu
Daphne Brooks Prout
Harry and Mildred Remis
Hannah and Raymond Schneider
Surdna Foundation, Inc.
R. Amo ry Thorndike
Augustus Thorndike
William E. Crofut Family
Endowed Scholarships
Claire and Millard Pryor
Eno Ethel Barber
Berkshire Chair
Alice Willard Dorr Foundation
Carlotta Dreyfus
Selly Eiseman
Frel inghuysen
Jascha Heifetz
Hov?ard/Ehrl ich
Koussevitzky Centennial
W i 1 1 i am Kro 1 1 Memor i a 1
Dorothy Lewis
Other Funds
Charles E. Merrill Trust
Northern California Audition
The Rothenberg/Carlyle Foundation Library
Asher J. Shuffer
Edward G. Shufro
Mary H. Smith
Albert Spaulding
Jason Starr
TMC Fiftieth Anniversary
TMC General Scholarship
Anonymous
The FaiendA MuAic at Tanglewood, an organization ofi muAic loveyXA and
patxonA, geneAouAly Auppont the operation o£ the Tanglewood MuAic Center . FriendA
axe Invited to all concertA o jf the Tanglewood MuAic CenteA with a Family SeaAon
M mbeAAhip o l $60, or an Individual Season Membership ofi $40. OtheAA attending
each TMC event, axe a&ked to contribute a minimum ofi $5.00 at the gate, $6.00 lor
orcheAtra conceAtA.
The Tanglewood MuAic CenteA iA alAo Aupported by a grant Irom the Motional
Endowment lor the HumanitieA .
r
■
i
Tanglewaxl Music Center
TAMGLEWOOD MUSIC CENTER ORCHESTRA
Sixth Concert
Saturday, August 16, 1986 at 2:00 P.M.
Theatre Concert Hall
WEBERN SIX PIECES POR ORCHESTRA, Opus 6
Langsam
Bewegt
Massig
Sehr Massig
Sehr Langsam
Langsam
ZichaAd Hoenicn, eonductoA
Mon&ieaZ, Canada
MOZART SYMPHONY NO. 39 in E-FLAT MAJOR, K. 543
Adagio; Allegro
Andante
Menuetto: Allegretto
Finale: Allegro
Ma/ik Gibbon, conductor
Minneapolis, Minnesota
Intermission
GLUCK
OVERTURE TO IPHTGENIE EN AULIDE
Richaad Desten -/)ield, conductoa
Pound Ridge, Weu> Vo? ik
STRAVINSKY SYMPHONY IN THREE MOVEMENTS (1945)
Overture; Allegro
Andante
Con moto
Leon Kijichnea, conductor
This program was preoared under the guidance of
Leon Kirchi.er and Gustav Meier.
BALDWIN PIANO
Orchestra Personnel
(Winds, brass and percussion listed alphabetically)
First violins
Cellos
Horns
Soo-Yeon Kim
Rachel Gruber
Tod Bowermaster
Zhou Qian
Andres Diaz
Robert Danforth
Linda DeRoche
Annamae Goldstein
Katja Linfield
Daniel Schulze
Adriana Rosin
Emmy Schaling
Ellen Tomas iewicz
William Ver Meulen
Marta Szlubowska
Michael Stirling
Helen Hagglund
Steven Sigurdson
Trumpets
Karen Bentley
Bryndis Baldursson
Mari Kimura
Owen Young
Anthony Pi Lorenzo
Patrick Kunkee
James Tsao
Samuel Swift
Wesley Nance
Katie Lansdale
Matthew Barley
Brian Rood
Mary Weber
Ling Ling Guan
Karl Parens
Arie Yaacobi
Trevor Handy
Trombones
Mari Sone
Andreas Sami
Etsuko Tsuchida
Ronald Carrera
Scott Me El roy
Basses
Harold Van Schaik
Second violins
Jennifer Matteson
Michael Zion
Caroline Wolff
Henry Peyrebrune
Julia Baumgartel
Keith Kawazoe
Tuba
Kathy Haid
Elizabeth Suh
Jerome Butler
Guy Tyler
Jeffery Jarvis
Steven Hiller
Jennifer Moreau
A! do Fabrizi
Percussion
Janne Johansson
Timothy Adams
Andrew Schast
David Hall
Sara Parkins
John Jutsum
Flutes
Alan flegna
Dionisia Fernandez
Robert Patterson
Margaret Bichteler
Joanna Bassett
Jacqueline DeVoe
Scott Stirling
Bing Wang
Adam Kuenzel
Lydia Forbes
Amy K. Perter
Mark Sparks
Harps
Megumi Teshimi
Mia Axon
Miaile Kali
Oboes
Alice Harlow
Violas
Eric Olsen
Jane Rhoads
Piano, celesta'
Trinh Le Trung
Elizabeth Stoyanovich
Benjamin Loeb
Ernest Richardson
Alex a Zirbel
Jenny Ries
Librarian
Cavoren Chick
Cl arinets
Thomas Harvey
Karen Sanders
Lee Carroll
David Rubinstein
Todd Palmer
Larry Pass in
Orchestra Manager
Lynn Rilling
Duncan Prescott
Harry Shapiro
Katrina Smith
Michael Rusinek
Rifat Oureshi
Tomoko Suzuki
Bassoons
Stage Manager
Mercedes Leon
Eric Beselin
Douglas Whitaker
Anna Schaum
Silvia Coricelli
Jon Gaarder
Timothy McGovern
Patricia Paulson
Program Motes
WEBERN (3 Dec. 1683 - 15 Sept. 1945) Six Pieces for Orchestra, Op. 6
Webern's compositional development, like that of his mentor Schoenberg, passed
through stages of late Romantic chromaticism, free atonal ity, arid finally serial tech-
nique. The Opus 6 pieces for orchestra represent Webern before his commitment to
total serialization. Despite the large instrumental forces, massed sonorities only
come into play in the second and fourth pieces, the latter an imposing funeral march
for winds and percussion. Most of the ruling principles common to Webern's work are
already in evidence in Opus 6. Foremost is economy and extreme concentration, with
every note essential. Also notable are the importance of silence, contrast of tonal
colors, and the characteristic device of fragmenting a musical line and distributing
it among instruments of different timbres. Schoenberg later termed this device Kang-
farbenmelodie , and it is most evidence in the first piece. The work was written in
1909 and dedicated to Schoenberg; the premiere took place in Vienna on 31 Mar. 1913,
with Schoenberg conducting. The present performance is of the revised 1928 score.
MOZART (27 Jan. 1756 - 5 Dec. 1791) Symphony Mo. 39 in Eb, K. 543
Mozart's symphonic composition is fairly evenly distributed over the whole of his
career, but the pinnacle of his achievement in the form lies in the final three, nos.
39, 40 and 41 (K. 543, 550, and 551), all composed during the summer of 1738 in the
space of just over six weeks. We know nothing about the occasion for their composi-
tion, perhaps Mozart had plans for some 'academies' in the coming season that didn't
work out. At any rate, there is no record that any of the three were performed in the
composer's lifetime. All three show a similarity in musical language to Don Giovanni,
written just before. The slow introduction of the Eb symphony is a feature shared
only by the "Prague" and "Linz" among the other symphonies. All the movements save
the minuet are in sonata form, but this regularity of form provides for a great vari-
ety of treatment from the wealth of contrasting themes in the first movement to the
abundant invention derived from the single theme of the last movement. The instru-
mentation omits ob es in favor of clarinets, which help impart a warm Romantic flavor
to the work.
GLUCK (2 July 1714 - 15 Nov. 1787) Overture to Ipheqenie en Aulide
Although Gluck was a prolific and well know composer of opera, few of his operas
survive and his reputation as a reformer of the genre rests on only some half dozen
works. It was while serving as music director to the Imperial Court in Vienna that
Gluck embarked on a reform of the dominant Italian opera that would include improve-
ment of the balance between music and drama, the elimination of the castrati and of
all dramatically inessential musical ornament, and the general unification of music
and all other aspects of production into a single coherent whole. In 1773, long after
retiring from his court appointment, Gluck was provided with a libretto to Iphigenie
en Aulide, derived from Racine's tragedy, and set about composing the music for per-
formance in Paris. This was to be the first of a series of 'reform' operas and the
first performance took place in Paris on 19 April 1774. Decause the overture leads
directly into the first scene it was furnished with a concert ending in 1854 by Wag-
ner, who also added two clarinets, a third basoon, and two horns to the instrumenta-
tion. Wagner's comments on the 'poetic' content of the overture note a theme of en-
treaty followed by a theme of commanding power. He further notes two additional
themes, one of charm and virginal delicacy, the other a theme of painful empathy in
the suffering of others. The overture demonstrates the austerity of design, spare-
ness, and simplicity that are hallmarks of Gluck's style.
STRAVINSKY (17 June 1882 - 6 April 1971) Symphony in Tb roe Movements
The Symphony in Three Movements was comocsod between 1942 and I 94 5 on a commission
trom the N.Y. Philharmonic; the first performance took place in Mew York with the
Philharmonic in January 1946 with the composer conducting. The work re Fleets an
impression of world events as derived from films and newsreels. "The finale even
contains the genesis of a war plot," Stravinsky noted, "though I accepted it as such
only after the composition was completed. The beginning of the movement is ... a
musical reaction to the newsreels and documentaries I had seen of goose-stepping
soldiers. The square march beat, the brass-band instrumentation, the grotesque
crescendo in the tuba, these are all related to those abhorrent pictures." The
march music predominates until the appearance of a fugue which provides the turning
point, and "the final, rather too commercial D-flat sixth chord - instead of the
expected C - in some ways tokens my extra exuberance in the Allied triumph." The
first movement wa s also inspired by a war film, but this time of scorched earth tac-
tics in China. The formal substance of the Symphony exploits the idea of counterplay
between several types of contrasting elements, the most obvious being the contrast;
between harp and piano, the principal instrumental protagonists. Each has a large
obbligato role and a whole movement to itself; only at the turning point fugue are
the two heard together- and alone.
Program notes by David E. Gruender, Tanclewood Music Center Librarian.
TANGLEWOOD MUSIC CENTER
The Tanglewood Music Center is maintained by the Boston Symphony Orchestra to
offer advanced training in music to young musicians of exceptional promise. The
Orchestra underwrites the cost of operating the Music Center with generous help from
donors to the Annual Fellowship Program and with the sustaining support of income
from the following permanent endowment funds:
Endowed funds for support of the instructional and performance program:
Mr. & Mrs. Edward L. Bowles Marian Douglas Martin Memorial
Mr. A. Werk Cook (Marilyn Brachman Hoffman)
Charles E. Culpeper Foundation Edward Shufro
The Honorable & Mrs. John H. Fitzpatrick Surdna Foundation Master Teacher
Peter H.B. Frel inghuysen William and Juliana Thompson
Louis Krasner Carl A. Weyerhaeuser 19G6 Trust
Anonymous (2)
Endowed Guarantor Fellowships
BayBanks
Leonard Bernstein
Charles E. Culpeper Foundation
Omar del Carlo
Clowes Fund
Fernand Gil let Memorial
Marie Gillet
Ruth and H. Eugene Jones
Dr. John H. Knowles Memorial
Albert L. and Elizabeth P. Nickerson
Seiji Ozawa
Reader’s Digest
Peggy Rockefeller
Morris A. Schapiro
Anonymous
Endowed Fellowships in the Following Names:
Mr. and Mrs. David B. Arnold, Jr.
Kathleen Hall Banks
Leo L. Beranek
Leonard Bernstein
Frederic and Juliette Brandi
Brookline Youth Concerts Awards Committee
Rosamond Sturgis Brooks Memorial
Helene R. and Norman L. Cahners
Marion Callanan Memorial
Stanley Chappie
Alfred E. Chase
Nat King Cole Memorial
Caroline Grosvenor Congdon Memorial
Tappan Dixey Memorial
Arthur Fiedler/Leo Wasserman Memorial
Dr. Marshall N. Fulton Memorial
Juliet Esselborn Geier Memorial
Gerald Gel bloom Memorial
Armando A. Ghitalla
Ina and Haskell Gordon
John and Susanne Grandin
The Luke B. Hancock Foundation
Harold Hodgkinson
C.D. Jackson
Philip and Bernice Krupp
Lucy Lowell
Robert McClellan/ IBM Matching
Stephen and Persis Morris
Ruth S. Morse
Northern California Fund
Theodore Eds/on Parker Foundation
David R. and Muriel K. Pokross
William and Lia Poorvu
Daphne Brooks Prout
Harry and Mildred Remis
Hannah and Raymond Schneider
Surdna Foundation, Inc.
R. Amory Thorndike
Augustus Thorndike
William E. Crofut Family
Endowed Scholarships
Claire and Millard Pryor
Eno Ethel Barber
Berkshire Chair
Alice Willard Dorr Foundation
Carlotta Dreyfus
Selly Eiseman
Frel inghuysen
Jascha Heifetz
Howard/Ehrl ich
Koussevitzky Centennial
William Kroll Memorial
Dorothy Lewis
Other Funds
Charles E. Merrill Trust
Northern California Audition
The Rothenberg/Carlyl e Foundation Library
Asher J. Shuffer
Edward G. Shufro
Mary H. Smith
Albert Spaulding
Jason Starr
TMC Fiftieth Anniversary
TMC General Scholarship
Anonymous
The Friends c{ Music at Tanglewood, an organization o{ music lovers and
patrons, generously support the operation oft the Tanglewood Music Center. Friends
are Invited to alJL concert* oft the Tanglewood Music Center with a Family Season
Membership o{ $60, or an Individual. Season Membership o{ $40. Others attending
each TMC event are asked to contribute a minimum o{ $5 .00 at the gate, $6.00 {or
orchestra concepts.
The Tanglewood Music Center is also supported by a grant {rom the Matronal
Endowment {or the Humanities .
Tanglew<®d Music Center
EIGHTH CHAMBER MUSIC CONCERT
Sunday, August 17, 1S86 at 10:00 A.M.
Theatre Concert Hall
PAepaAed by JuIMla Levine, Leon KiAchneA,
VekucLL WyneA, and Joseph SilvojLAtein
SCHUBERT
Adagio - Allegro
Adagio
Allegro vivace
Andante
Menuetto: Allegretto
Andante mol to - Allegro
Katie LanAdale , violin
Haile Kali, violin
KaAen Sandete, viola
KaAl PaAenA, cello
KIRCHNER
Steven UMeJ t, violin
Hichal
OCTET IN F MAJOR, Opus 166
HenAy PeyAebAune, baAA
Duncan PAeAcott, clarinet
PatAicia PaulAon, baAAoon
William Men. Meulen, ho An
TRIO FOR PIANO, VIOLIN AND CELLO (1954)
(in two movements without pause)
Katja Linfiield, cello
, piano
HARUE KUNIEDA ELEVATION II pour Cinq Executants (1985)
Adam Kuenzel , filute Timothy AdamA, peAcuAAion
Todd PalmeA, claA-inet David Hall , maAimba
A Ido PabAizi, double baAA
Harue Kunieda was born in Tokyo in 1958 and began piano lessons at 4 years of age.
She studied at the Toho School for Children and received a degree in composition at
Tokyo National University of Fine Arts and Music in 1983. She received an award
from the Viotti Competition in 1982. Harue Kunieda is a Fellow in Composition at
the 1986 Tanglewood Music Center.
"Elevation pour Violin Solo," 'Elevation II," and 'Elevation III pour Pipe Orgue Solo"
were written with a unity of style. With the alternating movement and pause, the
hidden emotions are reached as tension escalates. In "Eievation II" the violent
fission and contention of the five players' compressed energy, stemming from the
barrage of E tone by the marimba in the beginning, and the lyrical tranquility of
solo, are developed and recapitulated. The pauses, which appear very often, differ
from those in Western music, but are similar to intervals of a "f!oh play" which
is Japanese traditional art.
MENDELSSOHN
.OCTET FOR STRINGS IN E-FLAT MAJOR, Opus 20
Allegro moderato, ma con fuoco
Andante
Scherzo: Allegro 1 eggierissimo
Presto
Zhou Qian , violin
EAneAt RichaAdAon, viola
KaAen Bentley , violin
TAinh Le TAung, viola
MaAgaAet BichteleA , violin
Samuel Siui{)t, cello
MoaI KimuAa p violin
Emmy Schaling , cello
BALDWIN PIANO
Jonathan Harvey: Mortuos Plango, Vivos Voco
Jonathan Harvey (b.1030) graduated from St. John's College, Cambridge, later
earning a PhD. from Glasgow University and a MusD. from Cambridge. On Benjamin
Britten's advice, he studied composition with Erwin Stein and subsequently with
Hans Keller. Harvey has absorbed such diverse musical influences as Britten,
Stockhausen, and Babbitt, and has emerged as one of the most original British
composers of his generation. His output includes all kinds of music; in England
his choral music for the church is widely performed, but his reputation on the
Continent and in American is founded to a considerable extent on his electro-
acoustic music — in particular, "Mortuos Plango, Vivoc Voco." Harvey is Professor
of Music at Sussex University.
-program notes by the composers-
TARGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
FOURTH CONCERT
Sunday, August 17, 1986 at 8:30 P.M.
Theatre Concert Hall
SIX SONGS JOHANNES BRAHMS
Auf dem Kirchhofe
Blinde Kuh
Ich schleich umher
Feldeinsamkeit
Herbstgefahl
Juchhe!
William Gotten, tenor
Tkonvu Veidey, piano
FIVE RtlCKERT SONGS GUSTAV MAHLER
Ich atmet' einen linden Duft
Liebst du um Schonheit
Blicke mir nicht in die Lieder
Ich bin der Welt abhanden gekommen
Um Mitternacht
Alllton Sweden, mezzo toprano
Michael Beattie, piano
ODE TO NAPOLEON
ARNOLD SCHOENBERG
Sofia Parkint , violin Katrina Smith, viola
A nnamae Golditein, violin Karl Parent, cello
Erika Nickrenz, piano
Rone/ 1 Say to A, baritone
Intermit 6 ion
FOUR ROMANCES ON WORDS OF PUSHKIN, Opus 46 DIMITRI SHOSTAKOVICH
Rebirth
Bitterly sobbing the maid...
Foreboding
Stanzas
Vennit Bender, bast- baritone
Margo Garrett, piano
FIVE SONGS
SERGEI RACHMANINOFF
Spring waters
Twilight
How it hurts me
Near my window
How long ago, my friend?
Amy Clark A liapoul-ios , soprano
Vennls H elmrlch , piano
brief intermission
DETLEV GLANERT
LEVIATHAN
(based on a play of Thornton Wilder)
Brigomelde:
The Prince:
Leviathan:
Rifat Qureshl, viola.
Andreas Sami, cello
Jerome B utler, bass
Michael Gandolfl, guitar
Salko
Varnelle Scarbrough
'Jj alter Vlxon
RogeA Saylor
Amy K. Porter, flute
Michael Ruslnek, clarinet
RobeAt Van forth, horn
Vavld Hall, percussion
Sasaki, piano
Monk Gibson, conductor
Detlev Glanert was born in I960 in Hamburg, Germany, and has studied at the Univer-
sity there and with Hans Werner Henze in Cologne. He is a Fellow in Composition at
the 1986 Tanglewood Music Center.
The chamber-opera "Leviathan" was written in spring 1986 in the Henze-class at
Cologne. The first performance was in Evian, France. I was fascinated by the many
allusions in the play by Wilder, coming from the Bible, Ibsen, myths, etc., and
tried to translate them into musical allusions like arias, duets, little dances,
etc. The general atmosphere of the play is a bizarre tale with the very astonishing
highpoint, that the hero suddenly dies. At last the nature wins over the strange
"feelings" (from the viewpoint of the seawoman) of the prince who is here a humor
metaphor for all of humanity. n r
Margo Garrett Is a membeA of the TMC vocal faculty.
Musical preparation of the chambeA opeAa by Margaret KampmeleA.
THE PERFORMERS ASK THAT THERE BE APPLAUSE ONLY AT THE END OF EACH GROUP OF SONGS.
The singers in this recital are students in the Master Classes of Phyllis
Curtin, Tanglewood Music Center Artist-in-Residence for Vocal Music.
The Friends of Music at Tanglewood, an organization of music lovers and
patrons, generously support the operation of the Tanglewood Music Center. Friends
are Invited to all concerts of) the Tanglewood Music Center with a Family Season
Membership of $60, or an Individual Season Membership of $40. Others attending
each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for
orchestra concerts.
The Tanglewood Music Center Is also supported by a grant from the Motional
Endowment for the Arts.
BALDWIN PIANO
Translations
Six Songs by Johannes Brahms
Auf dem Kirchhofe (In the Churchyard) - Liliencron
The day was heavy with rain and stormy. I was among many forgotten graves, weathered
stone and cross, old wreaths, the names overgrown, barely readable. The day was
stormy and heavy with rain, on all the graves was frozen the word, "Deceased. "
After a stormy death the coffins slumber. On all the graves constantly melts,
"Released."
Blinde Kuh (Blind Cow) - translated from Italian by Kopisch
In the darkness I go to search. My child, where do you hide so well? Ah, she hides
so well that I languish! In the darkness I go to search. My child, where do you
hide so well? I can not find the place and am lost in circles! If someone were
to die about you, they would have no rest! Little child, have pity, and come here
to me!
Ich schleich umher (I creep about) - Platen
I creep about afflicted and silent. You asked, oh, did you ask me not why? The
heart shook with so much pain! And will I always be in darkness? The tree withered,
the scent faded, the leaves lie so yellow In the bed. A shower stormed powerfully
here! And will I always be in darkness?
Feldeinsamkeit (Field Solitude) - Aimers
I quietly rest in the high green grass and send my long glance above. Crickets from
all around constantly buzz. The blue heavens wonderfully enclose me. Beautiful
white clouds float through the deep blue, like beautiful quiet dreams. It is as if
I died long ago, and happily go with them through eternal spaces.
Herbstgefuhl (Autumn’s Touch) Schack
In the wind’s frosty, fatal touch the summer’s last blossom suffers. And here and
there, yellow and red, a single leaf sways in the wind. A dark, cold day also
shudders over my life. Even before death, why do you shake, oh heart, with your
eternal beat? The plant is encircled with leaves. Why does the wind play in the
shrub with the last faded joy? Give in to rest, for soon she also will die.
Juchhe! - Reinick
How beautiful is the earth! The little birds know it. They lift their light
feathers and sing such happy songs in the blue sky. How beautiful Is the earth!
The streams and the seas know it. As if in a clear mirror they paint the gardens
and cities and hills and the clouds that float. And singers and painters know it,
and all other people! And those who do not paint sing it. And those who do not
sing, sound it with loud joy in their hearts!
Five Songs, by Gustav 'Mahler
I breathed a gentle scent
I breathed a gentle scent.
In the room stood a branch of linden,
A gift from a dear hand.
How lovely was the scent of linden,
How lofely is the scent of linden.
The sprig of linden you gathered gently
I breath softly amid the scent of linden
Love’s gentle scent.
Do not look at my songs
Do not look at my songs!
My eyes I lower.
Like caught in an evil act.
I do not dare myself,
To watch their growing.
Do not look at my songs!
Your curiosity is betrayal!
Bees, when they build cells.
Won’t permit a watcher either,
They themselves do not look on.
When the rich honeycombs
Are brought into daylight by them.
Then be the first to take your fill
Take your fill!
If you love for beauty
If you love for beauty, oh do not love me!
Love the sun, adorned by golden hair!
If you love for youth, oh do not love me!
Love the spring, it is young every year!
If you love for treasures, oh do not
love me!
Love the mermaid, she has many shimmering
pearls .
If you love for love, oh yes, then love me!
Love me always, I love you forever, forever
I have become lost to the world
I have become lost to the world,
on which I formerly wasted much time;
It has heard nothing for so long from me,
It may well believe that I have died!
I do not care at all.
If it considers me as dead.
I also cannot contradict it,
For really I have died.
Died to the world.
I have died to the world's turmoil
And rest in a silent domain.
I live alone in my heaven,
In my love, in my song.
-2-
N1
At Midnight
At midnight I have been awake and
I looked up at the sky.
No star amid the swarm of stars
Has smiled at me at midnight.
At midnight I have sent my thoughts
Out into dark confines.
At midnight.
No shining thought
Has brought me consolation at midnight.
At midnight I took account
Of the beats of my heart;
A single pulse of sorrow
Was aflame at midnight
At midnight I fought the battle,
Of humanity, of your suffering;
I could not bring it to an end
Within my power at midnight.
At midnight I have given the power
Into your hands.
Lord! Lord over life and death.
You are standing on guard.
You, you are on guard at midnight!
Ode to Napoleon, by Arnold Schoenberg
Ode to Napoleon Buonaparte was composed in 1944 shortly before the end of World War
II. It was set to a poem by Lord Byron. The text deals with Byron's disdain for
the tyranny of despotism of Napoleon, a man he once admired but with whom he became
completely disenchanted. He draws analogies to great men and events in history
where nobility triumphed over despotism, from Cincinnatus, the savior of ancient
Rome, to George Washington, who voluntarily stepped from power. The analogy
Schoenberg draws is to Hitler and the total destruction which his mad lust for
power had created.
Songs by Dimitri Shostakovich
Rebirth
An artist-barbarian with weary paintbrush
Blackens over the painting of a genius
And his own lawless painting
He thoughtlessly daubts on it.
But these alien colors, with the years.
Fall off in dilapidated flakes;
The work of genius again comes out
Before us with its previous beauty.
Thus disappear all delusions
From my worn-out soul.
And in it arise visions
Of my original, pure days.
Bitterly Sobbing the Maid. . . .
The jealous maid, bitterly sobbing, was
chiding the youth;
Leaning upon her shoulder, the youth
suddenly fell asleep.
At once the maid fell silent, coddling
him in his light sleep.
And she smiled down at him, shedding quiet
tears.
Foreboding
Once again clouds above me
Have gathered in silence;
Again envious fate
Threatens me with misfortune...
Shall I preserve my scorn towards destiny?
Shall I have the strength to meet it
With the inflexillty and endurance
Of my proud youth?
Tired out by a turbulent life,
I indifferently await the storm:
Perhaps, having been rescued
I will once again find a haven...
But, with presentiment of separation.
Of that inescapable, dreadful hour,
I rush to grasp your hand,
My angel, for the last time.
Angel meek, serene,
Quietly say to me: Goodbye.
Grieve! Raise or lower
Your tender gaze;
And your memory
Will replace in my soul
The strength, the pride, the hope
And the courage of my youth.
Stanzas
Whether I wander along noisy streets.
Or if I enter a crowded cathedral,
Or when I sit among foolish youths,
I still give myself up to dreams.
I say: The years flit by
And we cannot see how many we have left.
We are all gathered beneath the eternal
vaults -
And someone's hour is already near.
When I look at the solitary oak,
I think: This patriarch of the forests
Will outlive my forgotten life
As it outlived the lives of my fathers.
When I caress a sweet infant
Already I think: Farewell!
I must yield a place for you
For me time is dying, for you it is
blossoming .
To every day, to every hour
I have become accustomed to turn my
thoughts,
I try to guess which of these will mark
The anniversary of my coming death.
And where will fate send me death?
In battle, abroad, at sea?
Or will the neighboring valley
Receive my cold dust?
And although It is immaterial
To the unfeeling body where it decays,
I want to sleep
Nearer to the dear boundary.
And at my tomb's entrance
May young children play,
And may indifferent nature
Radiate its eternal beauty.
Translations by Robert Osborne
-3-
Five Songs, by Sergei Rachmaninoff
Spring Waters, Op. 14 No. 11 (Feodor Teontchev)
The snow is still glistening in the fields, and already spring waters murmur;
They escape and awake the sleepy bank, they escape and shine and shout.
They shout in all directions: "spring is coming, spring is coming, we are the
young spring messengers, she has sent us in advance, spring is coming, spring is
coming ! "
And the warm silent days of May, in light rosy procession, are crowding joyously
behind her.
Twilight, Op. 21 no. 3 (M. Guyot)
She was day-dreaming. Alone in front of the window, she bowed her head. She sits
and casts a long glance in the twilight; and in the limitless blue darkening, heaven
drops its tender ray and little stars rise in a noiseless swarm; and it seems that
there the luminous swarm mysteriously flies and flutters, as though adoringly above
her small bowed head.
Hbw it hurts me, Ops 21, Mo. 12 (G. Galina)
How it hurts me, hox* I want to live... how fresh and fragrant is spring! No! I have
no power to kill my heart in this bluegray dreamless night. If only age would come
soon, if only frost would shine in my curls! The nightingale sang not for me, the
forest for me did not rustle, for the song did not escape from my soul through the
lilacs to the vast distance, because for me there was not any peace, for me there
was tortured sorrow!
Near my window, Op. 26, no. 10 (G. Galina)
Near my window the black-alder tree is flowering, it flowers dreamily beneath a
silvery vestment .. .And the fresh and fragrant branch bows and calls... I joyfully
catch the merry breath of its fluttering, airy petals; their sweet aroma fogs my j
enses, and they sing wordless songs about love.
How long ago my friend. Op. 4, no. 6 (Count A. Golenistchev-Koutouzov)
How long ago my friend, did I catch your sad glance in the murky instant of parting?
For your departing glance penetrated my soul for a long time. How long ago, while
lonely and pacing through a strange, crowded throng towards you, my distant and
desired one, did my mind speed with sad thoughts? Little by little desire was ex-
tinguished .. .my heart ached... time stood still... my mind was muted... how long ago
was that calm? But the storm of our rendezvous came... We were together again and
days passed quickly, as waves crash one upon another, and thoughts boil over,
and songs of rapture pour from my heart full of you!
Leviathan, by Detlev Glanert
Brigomelde: It's breathing. He has not lost - what they call - the soul. I wonder
where he keeps it. It is the great difference between us; we sea-people
have no soul. I wonder where he keeps it! I have heard that it can be
seen at times, in the eyes. Perhaps if I borrowed it from him while he
slept he would never miss it. No, - I will ask him for it.
The Prince: My father, take not your hand away. My brothers, why have you ceased
talking? Where am I? - All is lost! Ave Maris Stella!
Brigomelde: How could sleep so - during the storm?
The Prince: You - you are out of a dream. You are out of my fever. Yes, yes - the
storm - you - all this is but the painting of my fever. I shall awake
in Venice with the lute-player fallen asleep by the window. I will call
to him now and he will wake me up: Amedeo! - Lute-player! Shake me
out of this dream!
Brigomelde: Who is it you are calling to? There is no one here, but you and me only.
The Prince: Amedeo! - he does not answer: this is real. But you, you are dream;
you are illusion.
Brigomelde: You think I am only dream because .. .you have heard it said... we sea-
folk have no souls.
The Prince: Soul nor body.
Brigomelde: Tell me where It is you keep your soul. Have you it always with you?
The Prince: Flos undarum! Save me! Deliver me! Hear my prayer!
Brigomelde: Who are you speaking to?
The Prince: You! Tell me where is shore. I will give you great riches ... all you
desire .
Brigomelde: Give me your soul. All my days I have longed for two things, black hair
and a soul. I have not lacked anything else. I will draw you to your
home, if you will give me your soul.
The Prince: It cannot be given away. No one has seen it; it cannot be felt with
hands; seen or tasted.
Brigomelde: And yet they say it is the greatest thing in the world; that without it
life is a cold procession of hours; that it gives all sight to the eyes,
and all hearing to the ears... you are mocking me! I see in your face
that you have it now!
-4-
The Prince.: Yes, and am about to lose it.
Brigomelde: Give it to me, and I will bring up from the bottom of the sea your
father and your brothers. I will return to you all the pearls that have
fallen here, and draw you softely into the narrows of Venice.
The Prince: Amedeo! .. .Lute-player !
Brigomelde: It is something you cannot touch or see. What could I do with it so?
It is true! There is something gone... that lay about his eyes, that
troubled his mouth. The soul, perhaps.
Gog-etar! There is no longer anything precious in this man. You may
divide him among your young.
Leviathan: It is terrible here, lady. These spices have made the streams unendur-
able. Already my young are ill, lady. They lie motionless in the mud7,,
dear lady. It is terrible to see them so...
Brigomelde: I do not want to hear your troubles. Take this man away.
Leviathan: Thanks, gracious lady. Perhaps these hateful essences will have made
him endurable . . .
Brigomelde: Cease!
Perhaps it is better, although your body has passed to Leviathan, still
to have another part of you somewhere about the world.
Tanglew®d Music Center
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
PHYLLIS CURTIN SEMINAR
Fourth Recital
Monday, August 18, 1986 at 4:00 P.M.
Chamber Music Hall
FROM THE DIARY OF VIRGINIA WOOLF
The Diary
Anxiety
War
Parents
Last Entry
April, 1919
October, 1920
June, 1940
December, 1940
March, 1941
Katharine Emory, mezzo-soprano
Dennis Helmrich, piano
DON QUICHOTE A DULCINEE
Chanson Romanesque
Chanson Epique
Chanson A Boire
Ridley Chauvin, baritone
Michael Beattie, piano
A CHARM OF LULLABIES
A Cradle Song
The Highland Balou
Sephestia's Lullaby
A Charm
The Nurse's Song
Kari Peters, mezzo-soprano
Jeffry Johnson, piano
THREE SONGS, OPUS 45
'Now have I fed and eaten up the rose'
A Green Lowland of Piznos
'0 boundless, boundless evening'
Susan Rosenbaum, soprano
Margaret Kampmeier, piano
AIRS CHANTES
Air Romantique
Air Champetre
Air Grave
Air Vif
Lisa Lutter, soprano
Michael Beattie, piano
DESPITE AND STILL, OPUS 41
A Last Song
My Lizard
In the Wilderness
Solitary Hotel
Despite and Still
DOMINICK ARGENTO
MAURICE RAVEL
BENJAMIN BRITTEN
SAMUEL BARBER
FRANCOIS POULENC
SAMUEL BARBER
John Kramar, baritone
Terry Decima, piano
FROM THE DIARY OF VIRGINIA WOOLF
Dominick Argento
I. The Diary April, 1919
What sort of diary should I like mine to be? Something ... so elastic that it
will embrace anything, solemn, slight or beautiful that comes into my mind.
T should like it to resemble some deep old desk... in which one flings a mass
of odds and ends without looking them through. 1 should like to come back,
after a year or two. and find that the collection had sorted itself and
refined itself and coalesced, as such deposits,, mysteriously do, into a
mould, transparent enough to reflect the light of our life...
II. Anxiety October, 1920
Why is life so tragic; so like a little strip of pavement over an abyss. I
look down; 1 feel giddy; l wonder how I am ever to walk to the end. But why
do [ feel this: Now that I say it 1 don't feel it. The fire burns; we are
going to hear the Beggar's Opera. Only it lies all about me; 1 can't keep
my eyes shut..,. And with it all how happy I am - if it weren’t for ray feeling
that it's a strip of pavement over an abyss.
VI. War June, L940
This. L thought yesterday, may be my last walk... the war - our waiting while
the knives sharpen for the operation - has taken away the outer wall of
security. No echo comes back. I have no surroundings .. .Those familiar
circumvolutions - those standards - which have for so many years given back
an echo and so thickened my identity are all wide and wild as the desert now.
I mean, there is no "autumn", no winter. We pour to the edge of a precipice.
..and then? I can’t conceive that there will be a 27th June 1941.
VII. Parents December, 1940
How beautiful they were, those old people - 1 mean father and mother - how
simple, how clear, how untroubled. I have been dipping into old letters and
father's memoirs. He loved her: oh and was so candid and reasonable and
t ranspa rent ... How serene and gay even, their life reads to me: no mud; no
whirlpools. And so human with the children and the little hum and song of
the nursery. But if I read as a contemporary I shall lose my child’s vision
and so must stop. Nothing turbulent; nothing involved; no introspection.
VIII. Last Entry March, 1941
No: I intend no introspection. f mark Henry James' sentence: observe
perpetually. Observe the oncome of age. Observe greed. Observe my own
despondency. By that means it becomes serviceable. Or so I hope. I insist
upon spending this time to the best advantage. I will go down with my colours
f lying, .. Occupation is essential. And now with some pleasure I find that it’s
seven; and must cook dinner. Haddock and sausage meat. I think that it's
true that one gains a certain hold on sausage and haddock by writing them
down .
Note: Virginia Woolf wiis an English writer, best known for her novel "To
the Lighthouse". She ended her life by walking into the ocean in 1941.
Don Quichotte A Dulcinee by Maurice Ravel
(1932)
Chanson Romanesque-Romanesque Song
Were you to tell me that the earth
offended you with so much turning,
speedily would I dispatch Panza:
you should see it motionless and silent.
Were you to tell me that you are weary
of the sky too much adorned with stars,
destroying the divine order,
with one blow l would sweep them from the night.
Were you to tell me that space
thus made empty does not please you,
god-like Knight, lance in hand,
I would stud the passing wind with stars.
But were you to tell me that my blood
belongs more to myself than to you, my Lady,
1 would pale beneath the reproach
and I would die, blessing you.
0 Dulcinea.
Chanson Epique-Epic Song
Good Saint Michael who gives me liberty
to see my Lady and to hear her,
good Saint Michael who deigns to elect me
to please her and to defend her,
good Saint Michael, I pray you descend
with Saint George upon the alter
of the Madonna of the blue mantle.
With a beam from heaven bless my sword
and its equal in purety
and its equal in piety
as in modesty and chastity: my Lady.
Chanson A Boire-Dr inking Song
A fig for the bastard, illustrious Lady,
who to shame me in your sweet eyes,
says that love and old wine
will bring misery to my heart, my soul!
I drink to joy!
Joy is the one aim
to which 1 go straight...
when 1 am drunk!
A fig for the jealous fool, dark-haired mistress,
who whines, who weeps and vows
ever to this pallid lover
who waters the wine of his intoxication!
I drink to joy!
Joy is the one aim
to which I go straight...
when 1 am drunk!
0 great Saint George and Saint Michael Paul Morand
the angel who watches over my vigil,
my gentle Lady so much resembling you,
Madonna of the blue mantle*
Amen .
A CHARM OF LULLABIES
A Cradle Song by William Blake
Sleep- Sleep. beauty bright.
Dreaming o'er the joys of night;
Sleep- Sleep, in thy sleep
Little sorrows sit and weep.
Sweet Babe, in thy face
Soft desires I can trace.
Secret joys and secret smiles.
Little pretty infant wiles.
0, the cunning wiles that creep
In thy little heart asleep.
When thyylittLe haeart does wake
Then the dreadful lightnings break.
From thy cheek and from thy eye.
O'er the youthful harvests nigh.
Infant wiles and infant smiles
Heav'n and Earth of peace beguiles.
The Highland Balou by Robert Burns
Hee balou, my sweet wee Donald,
Picture o' the great Clanronald.
Brawlie kens our wanton Cheif
What gat my young highland theif.
(Hee balou.)
Leeze me on thy bonnie craigie.
An thou line, thou 'll steal a naigie,
Travel the country thro' and thro'.
And bring hame a Carlisle cow.
Thro' the Lawlands, o'er the Border,
Weel, my babie, may thou furder.
Herry the .louns o’ the laigh Countrie,
Syne to the Highlands hame to me.
Hee balou, my sweet wee Donald.
Sephestia's Lullaby by Robert Greene
Weep not, my wanton, smile upon my knee;
When thou art old there's grief enough for thee.
Mother’s wag, pretty boy.
Father's sorrow, father's joy;
When thy father first did see
Such a boy by him and me,
He was gald, I was woe;
Fortune changed made him so.
When he left his pretty boy.
Last his sorrow, first his joy.
Weep not, my wonton, smile wupon my knee;
When thou art old theer’s grief enough for thee.
The wanton smiled, father wept.
Mother cried, byby leapt;
More he crowed, more we cried.
Nature could not sorrow hide:
He must go, he must kiss
Child and mother, byby bliss,
or he left his pretty boy,
ather s sorrow, father's joy.
A Charm by Thomas Randolph
Quiet sleep, or l will make
Erinnys whip thee with a snake.
And cruel Rhadamanthus take
Thy body to the boiling lake,
Where fire and brimstone never slake;
The heart shall burn, they head shall ach<
And ev’ry joint about thee quake;
And therefore dare not yet to wake.
Quiet, sleep. Quiet, sleep. Quiet.
Quiet sleep. or thou shaft see
The horrid hags of Tat t ary.
Whose tresses ugly serpents be.
And Cerberus shall bark at thee,
And all the Furies that are three
The worst is called Tisiphone,
Shall lash thesSo eternity;
And therefore sleep thou peacefully
Quiet, sleep. Quiet, sleep. Quiet.
The Nurses Song by John Phillip
Lullaby baby, lullaby-laby baby,
Thy nurse will tehd thee as duly as my be
Lullaby baby.
Be still, my seeet sweeting, no longer do
cry;
Sing lullaby baby, lullaby baby.
Let dolours be fleeting, I fancy tbe^, I,
To rock and to lull thee I will not d*lay
Lullaby baby, lullaby-laby-laby baby..
Thy nurse will tend thee as duly as bkj be
Lullaby-laby-laby baby .
The gods by thy shield and comfort inneec.
The gods be thy shield and comfort inrxee*
Sing lullaby baby Lullaby-laby baby.
They give theeggood fortune and well -iar t
speed ,
And this to desire I will not delay n*-_
This to desire I will not delay me.
Lullaby-baby, lullaby-laby baby.
Thy nurse will tend thee as duly as nm 4
Lul.Laby-labyllaby-laby baby.
AJKS CHANTES - Francis Poulenc
poems oi Jean Moreas
A Romantic Song
I was going through the country
with the wind of a storm.
Under the pale morning sky,
under the tow clouds,
A mysterious raven was escorting my voyage
and i n the pudd 1 es oi watei' my steps resounded .
The lightning on the horizon flashed its fire,
and the Aquilon wind doubled its sad howling;
But the storm was too weak for my soul,
which covered up the thunder with its loud beating.
From the bare corpses of gold,
from the ash tree and the maple.
Autumn was composing his gleaming treasuie.
And the raven, always,
in i nexora b I e f 1 i gh t , _
accompanied ine without changing my destiny.
A Country Song
Lovely, spring, lovely spring,
I want to remember forever-,
that day, guided by friendship,
entranced, 1 gazed upon your face, oh goddess,
lost under che moss, under the moss half hidden.
That he still remained,
that friend who I weep for,
0 nymph, to be your devotee,
to mingle with the breath
which barely touches you,
and to answer to your hidden stream.
A Serious Song
Ah! flee now, miserable thoughts!
Oh! anger. Oh! remorse!
Memories which pressed upon my temples,
like the embrace of death.
moss covered paths, vaporous fountains, deep caves,
vaporous fountains, deep caves,
the voice of birds and the wind,
flickering lights of the savage undergrowth,
insects, animals, future beauty
do not spurn me, oh divine nature,
I am your supplicant.
Ah’ flee now, anger, remorse!
A Lively Song
The treasure of the orchard
and the festive garden,
the flowers of the fields, the woods,
burst with pleasure,
Alas!
And above their heads the wind swells its voice.
But you, noble ocean,
who the assault of the tempest
will not ravage,
certainly more dignified
when you are lamenting,
you lose yourself in dreaming.
Tanglew®d Music Center
TANGLE WOOD MUSIC CENTER ORCHESTRA
Seventh Concert
Wednesday, August 20, 1986
Theatre Concert Hall
8:30 P.M.
BERLIOZ OVERTURE TO "BENVENUTO CELLINI," Opus 23
Romelij Pfiund, conductor
Vessau, East Germany
COPLAND ORCHESTRAL VARIATIONS
Maak Gibbon, condactoA
tiinneapolts , Minnesota
lyiteAwtsston
SHOSTAKOVICH SYMPHONY No. 10, Opus 93
Moderate
Allegro
A1 legretto
Andante
Gennadi/ Rozhdestvensky, conductor
This program was prepared under the guidance of
Gennady Rozhdestvensky and Gustav Meier.
BALDWIN PIANO
ORCHESTRA PERSONNEL
(Winds, brass and percussion listed alphabetically)
First violins
Elizabeth Suh
Jennifer Moreau
Haile Kali
Andrew Schast
Sara Parkins
Dionisia Fernandez
Julia Baumgartel
Lydia Forbes
Megumi Teshimi
Eing Wang
Caroline Wolff
Steven Miller
Margaret Bichteler
Kathy Ha id
Second violins
Katie Lansdale
Mari Kimura
Mari Sone
Ling Ling Guan
Karen Bentley
Adriana Rosin
Helen Hagglund
Etsuko Tsuchida
Arie Yaacobi
Zhou Qian
James Tsao
Soo-Yeon Kim
Marta Szlubowska
Annamae Goldstein
Violas
David Rubinstein
Katrina Smith
Tomoko Suzuki
Mercedes Leon
Lynn Rilling
Anna Schaum
Rifat Oureshi
Ernest Richardson
Trinh Le Trung
Jenny Ries
Karen Sanders
Cellos
Katja Li nf i el d
Trevor Handy
Andreas Sami
Owen Young
Rachel Gruber
Karl Parens
Samuel Swift
Steven Sigurdson
Emmy Sc ha ling
Michael Stirling
Bryndis Daldursson
Matthew Barley
Basses
Jerome Butler
Aldo Fabrizi
Janne Johansson
Henry Peyrebrune
Keith Kawazoe
Guy Tyler
Jennifer Hatteson
Flutes
Joanna Bassett
Jacqueline DeVoe
Adam Kuenzel
Amy K. Porter
Hark Sparks
Oboes
Eric Olson
Jane Rhoads
Elizabeth Stoyanovich
Alex a Zirbel
Clarinets
Lee Carroll
Todd Palmer
Larry Pass in
Duncan Prescott
Michael Rusinek
Bassoons
Eric Ceselin
Silvia Coricelli
Jon Gaarder
Timothy McGovern
Patricia Paulson
Horns
Tod Bowermaster
Robert Danforth
Linda DeRoche
Daniel Schulze
Ellen Tomasiewicz
William VerMeulen
Trumpets
Anthony Di Lorenzo
Patrick Kunkee
Wesley Nance
Brian Pood
Ha ry Weber
Trombones
Ronald Carrera
Scott Me El roy
Harold Van Schaik
Michael Zion
Tuba
Jeffery Jarvis
Percussion
Timothy Adams
David Hall
John Jutsum
Alan Megna
Robert Patterson
Scott Stirling
Harps
Mia Axon
Alice Harlow
Librarian
Thomas Harvey
Orchestra Manager
Harry Shapiro
Stage Manager
Douglas Whitaker
Program Notes
BERLIOZ (11 Dec, 1803 - 8 Mar. 1869) Overture to Benvenuto Cellini
The Romantic cult of the Renaissance and the concept of Artist as Hero lies at
the heart of Benvenuto Cellini. Berlioz had long intended an opera and in 1834 he
had a libretto prepared from Cellini’s memoirs. The first performances of the comple-
ted work, following upon the success of the Requiem, took place in Paris on 10 Sept.
1S38. Unfortunately, it did not share the popularity of the Requiem; performances
were disrupted and the work soon withdrawn. Despite its lack of success in France, in
1852 it had a very successful run in Weimar where Liszt was a leading champion, of the
composer, although many changes from the original conception were incorporated. During
the period between the premiere and Weimar Berlioz also drew on the carnival scene of
Act I for the composition of his 1844 Roman Carnival Overture. The essential points
of the opera plot are as follows: the roguish Cellini, the boastful 'bandit of genius,'
is an uncompromisingly great artist in constant conflict with officialdom. He is
commissioned by the Pope to cast a statue of Perseus, but the completion date is con-
stantly postponed. In an incident relating to his love life, he is forced to kill an
assassin and at the dramatic climax Cellini's life, now forfeit through murder, and
his artistic genius are balanced against each other. If he agrees to finish the cast-
ing of the statue by midnight he will be pardoned. While the initial acceptance of
the opera was certainly less than kind, the overture soon became a popular concert
piece on its own. The Benvenuto theme is first heard pizzicato in the lower strings
just after the pause in the frenetic opening. This theme undergoes constant varia-
tion and is finally united with the boisterous allegro at the end of the overture,
associated in the opera with the granting of absolution.
COPLAND (b. 14 Nov. 1900) Orchestral Variations
The Orchestral Variations resulted from a commission by the Louisville Orchestra
and is actually an orchestral version of Copland's 1930 Piano Variations. Completed
in December of 1957, the premiere was given by the Louisville Orchestra under Robert
Whitney on 5 March 1958. The orchestration stays close to the original with only a
few imitative voices added to fill out the texture at various places. Copland noted
that although the work was originally conceived with the sonorities of the piano in
mind, how it might be treated in orchestral terms had been a recurrent thought for
some years. In its original form, the piece predates his 'vernacular' style, which
began with El Salon Mexico in 1936 and continued through pieces such as Billy the Kid,
Appalachian Spring, Lincoln Portrait, and Rodeo, and is more reminiscent of Ives or
Schoenberg. As Copland describes it, the piece consists of a theme of dramatic char-
acter followed by twenty variations and a coda presented without break. Each varia-
tion is intended to be cumulative in effect with the coda serving as a summation of
the work's emotional content. At the core of the eleven bar theme is a four note
figure, E-C-Eb-C#, heard in every variation often with changing note values. Subdued
brass open the work with a statement of the theme and the restrained mood gradually
builds until Variation VII, marked 'boldly, very marked.' Strings and a more lyrical
mood predominate in variations VIII and IX, while Variation XI features a duet be-
tween oboe and flute. The piece builds steadily to a climax from Variation XII on,
with Variation XVIII being a scherzo featuring prominent flutes and clarinets. Per-
cussion assumes greater prominence in the last variation and leads into the coda,
subito lento moderato, which gradually slows in tempo to the end.
SHOSTAKOVICH (25 Sept. 1906 - 9 Aug. 1975) Symphony No. 10 in E minor. Op, 93
For a composer in the Soviet Union, political difficulties are often added to
the normal problems of audience acceptance of new music. The Stalin era was parti-
cularly hard on creative artists and Shostakovich had his first taste of official
censure, with traumatic results, after a 1934 performance of his opera Lady Macbeth
of Mtsensk. He fell into disfavor once again after the 1945 premiere of his Ninth
Symphony, expected to be a rousing pomposity extolling the virtues of the Soviet
state, failed to meet expectations. The result of this last blow was a cessation of
symphonic composition until the passing of Stalin. The Tenth Symphony was begun in
July of 1953, some four months after Stalin's death, and completed on 27 Oct. The
first performance took place on 17 Dec. 1953 in Leningrad; the N.Y. Philharmonic under
Mitropoulos gave the American pi .miere on 14 Oct. 1954. After his death, Khachaturian
described Shostakovich as 'the conscience of Soviet music,' and the composer's post-
humous memoirs indicate that his Symphony No. 10 is about Stalin and the Stalin years.
Moreover, the Scherzo invparticular , with its ominous undercurrent, has as its basis
a musical portrait of Stalin. The principal motive of the first movement is quoted
briefly in the last two movements and serves as a unifying device. Of special inte-
rest is the second theme of the allegretto third movement which is an enigmatic ref-
erence to the composer in the initials D-S-C-H, represented musically as D-Eb (=Es
in German notation)-C-B-natural (H in German). The finale begins with a long, solemn
introduction before breaking into an exuberant allegro^ The D-S-C-H motif is heard
once more before the work is brought to a close with a final unison E.
Program notes by David E. Gruender, Librarian, Tanglewood Music Center.
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TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
PHYLLIS CURTIN SEMINAR
Fifth Recital
Friday, August 22, 1986 at 1:00 P.M.
Chamber Music Hall
Set to texts of Klaus Groth
0 wusst ich doch dem Weg zuruck
Wie Melodien zieht es
Es hing der Reif
Dein blaues Auge
Hans und Grethe
Ich ging mit Lust durch einen grunen Wald
Er innerung
Wer hat dies Leiblein erdacht?
FOUR SONGS
JOHANNES BRAHMS
Lisa Lutter, soprano
Thomas Dewey, piano
FOUR SONGS
GUSTAV MAHLER
Johanna Thompson, mezzo-soprano
Kenneth Grigg, piano
THREE SONGS
CLAUDE DEBUSSY
Beau Soir
Nuit d'Etoiles
Romance
Reginald Bouknight , tenor
Michael Beattie, piano
SULEIKA SONGS
Suleika
Lied der Suleika
Suleikas zweiter Gesang
FRANZ SCHUBERT
ROBERT SCHUMANN
FRANZ SCHUBERT
Eva Franko, soprano
Jeffry Johnson, piano
THREE SONGS
MANUEL DE FALLA
Les Colombes
Chino iserie
Seguidille
Luann Aronson, soprano
Kenneth Grigg, piano
FIVE SONGS
FRANZ SCHUBERT
Fischerweise
Du liebst mich nicht
Rastlose Liebe
Der Zwerg
Seligkeit
Michelle Shayne, mezzo-soprano
Thomas Dewey, piano
FOUR SONGS
These are the days (Dickinson)
Winters' Child (Duldmann)
Agnes (Enos)
Dirge for Two Veterans (Whitman)
Michael Donovan, baritone
Margaret Kampmeier, piano
MIGNON LIEDER
Kennst du das Land?
Nur wer die Sehnsucht kennt
Heiss mich nicht reden
So lasst mich scheinen
Pamela Murray, soprano
Michael Beattie, piano
THOMAS PASATIERI
ROBERT SCHUMANN
Four Songs set to poems of Klaus Groth Johannes Brahms
Oh, that I knew the road back
Oh, that I knew the road back,
the lovely road to childhood!
Oh, why did I seek after fortune
and leave my mother's hand?
Oh, how I look for rest,
to be awakened for no aspirations,
to close my tired eyes,
to be gently covered by love!
And nothing to search after,
nothing to watch out for,
and only to dream softly and gently,
not seeing the passing of time,
to be a second time a child.
Oh, show me the road back,
the lovely road to childhood.
In vain I search after fortune,
all about me is desolate shore.
Like a melodies it draws itself
Like melodies it draws itself,
softly through my mind,
like Spring flowers it blooms,
and floats away like fragrance.
Yet comes the word and guides it for the eye,
like misty gray it pales and fades like a breath.
And yet it sleeps in the rhyme,
a fragrance deeply hidden,
gently out of the silent seed,
a tear filled eye calls it forth .
The hoarfrost hung
The hoarfrost hung in the Linden tree,
through which the light flowed like silver,
I saw your house, clearly as if in a dream,
a blazing fairy castle.
And your window stood open,
I could see:-lft£o your room.
Then you appeared in the sunlight,
you darkest of the fairies!
I trembled in blissful pleasure,
so warm like spring and wonderful:
then I noted at the same time
that in your greeting
were frost and winter.
Your blue eyes
Your blue eyes are so still and serene,
I look into their depths.
You ask me, what do 2 wish to see?
I see my good health.
I burned myself with a fiery pair,
it still hurts, the memory:
but yours are like a very clear lake,
and like a lake so cool.
Hans und Grethe
Ring around a rosy'.' Whoever is merry, let him join in. Whoever has cares,
let him leave them at home. Whoever kisses a dear sweetheart, how happy is
he.’ Oh Hans, you have none, so search for one! A loving sweetheart is grand.
Oh, Grethe why do you stand alone? Look over at little Hans! May is so green
and the breezes blow. Look over at stupid Hans! See how he runs to the dance.
He searched for a sweetheart. Hooray! He found her!
(translated j? y R. Leander)
Ich ging mit Lust durch einen grunen Wald (I went joyfully through a green wood)
I went joyfully through a green wood. I heard the little birds singing. They
sang so young, they sang so old, the little woodbirds in the green woods.
How happily I heard them sing. Now sing, Madame Nightingale. Sing this to my
dear sweetheart: Come along when it is dark, when no one is around, come to me.
I will let you in! The day passed away, the night breaks. He came to his
sweetheart. He knocked softly on the knocker. Are you asleep or awake,
ray child? I have stood so long! The moon looks through the small window at
their lovely sweet embraces. The nightingale sang the entire night. You
blessed sleeping maiden, take care! Where is your beloved now?
(from Des Knaben Wunderhorn)
Erinnerung (Remembrance)
My love awakens the songs time and again. My song awakens love time and again.
My lips dream of your hot kisses, in song and melody they must sound of you.
And if my thoughts want to dismiss love, then my songs come to me with love's
lament! So I am held captive by both of these time and again. The song
awakens .love! Love awakens the songs!
(R. Leander)
Wer hat dies L.iedlein erdacht? (Who has invented this little song?)
There on top of the mountain in the high house, there peeps out a dear maiden.
She is not at home there. She is the innkeeper's daughter. She lives on the
green heath. My heart is sore, come sweetheart, make it well! Your dark
brown eyes have wounded me. Your rosy mouth makes my heart well; makes the
young understanding; makes the dead alive; makes the sick healthy. Who has
invented this beautiful little song ? Three geese brought it over the water,
two grey and a white. And whoever cannot sing this little song, they will
whistle it!
(from Des Knaben Wunderhorn)
BEAU SOIR (Beautiful Evening)
When, in the setting sun, the streams are rosy.
And when a warm breeze floats over the fields of grain,
A counsel to be happy seems to emanate from all things.
And rise toward the troubled heart;
An advice to enjoy the pleasure of being alive,
While one is young and the evening is beautiful.
For we shall as this wave goes,-
It, to the sea; we, to the grave.
NUIT D 1 ETOILES (Night of Stars)
Night of stars, beneath your veils,
Amid your breezes and your scents.
While a sad lyre is sighing,
I dream of my late loves.
Serene melancholy
Suddenly unfolds at the bottom of my heart.
And I sense the soul of my beloved
Trembling in the dreaming forest.
I see again, in our fountain.
Your glances blue as the skies;
This rose, it is your breath.
And these stars are your eyes.
ROMANCE (Romance)
The fleeting and suffering soul.
The gentle soul, the fragrant soul
Of those divine lilies which I gathered
In the garden of your thoughts.
Whither have the winds driven it.
That adorable soul of the liles?
Is there no fragrance remaining
Of the heavanly loviness
Of those days when you enveloped me
In a celestial haze.
Fashioned of hope, of faithful love.
Of blessedness and of peace?
English translations by EDITH BRAUN, WALDO LYMAN, And KAY MAUNSBACH
Suleika (Marianne von Willemer,
attributed to Goethe)
What does this stirring mean?
Does the east wind bring glad tidings?
The fresh beating of its wings
cools the deep wounds of the heart.
Lovingly he plays With the dust;
He chases it into light cloudlets;
Drives to the safety of the vine-leaves
the merry insect clan.
Gently he soothes the sun's glow.
Also cools my hot cheeks
Kisses the vines in flight
Shining over field and hill.
And brings in his gentle whisper
A thousand greetings from my sweet heart;
And yet, before these hills grow dark
a thousand kisses will greet me.
And so, you may continue on your way.
Serving friends and those in need.
There, there where the high walls are aglow
There I shall soon find my beloved.
Ah, the heart's true knowledge.
Love's breath, life's refreshment
Will be only on his moutdi
Only his breath can give them to me.
Lied der Suleika (Goethe)
0 song, how I perceive your meaning
with warmest satisfaction.
Lovingly you seen to say
that I am by his side, by his side.
That he constantly thinks of me
and continually bestows the bliss
of his love on the far-off woman,
who has consecrated her life to him.
Yes, my fried, my heart is the mirror
wherein you see yourself ;
this breast, upon which kiss after kiss,
kiss after kiss has impressed the marks
of your seal.
Sweet composing, pure truth binds me
in sympathy and purely embodies the clarity
of love in the garb of poetry.
0 song , how I perceive your meaning
with warmest satisfaction.
Lovingly you seem to say
that I am by his side, by his side.
Suleikas zweiter Gesang (Marianne von
Willemwr, attr. Goethe)
Ah, of your moist wings, Westwind,
how envious I am,
for you can bring him news
that I suffer from this separation.
The stirring of your wings
awakens in my bosom a quiet longing
Blossoms, meadows, forests and hills
Stand by your breath in tears.
Hasten then to my love
Speak softly to his heart
But avoid troubling him,
and do not make him aware of my grief.
Tell him, but tell him unassumingly
that his love is my life.
Joyful feelings from both
will bring him close to me.
Still , your mild gentle blowing
cools tender eyelids
Ah, I should have to die of grief
If I did not hope to see him again.
Fischerweise ( A fisherman's tune ) Baron Schlechta
The Fisherman doesn't experience worries, grief or pain. He sets out in
the early morning with an easy mind in a boat. Peace lies over the forest,
in the open and the stream. He calls the golden sun with his songs. He
sings to his work with a full, fresh breast. The work gives him strength.
The strength gives him a lust for life.
He who would set a net needs clear and good eyes. He should be merry as
the waters and free as their flow.
There, fishing on the bridge, is the shepherdess. Sly minx! Abandon
your wiles! You will never catch that fish!
Du liebst mich nicht (You don't love me) Graf Platen
My heart is torn. You don't love me. You let me know. You don’t love me.
Although as a suppliant and suitor, I appeared to you zealous in love, you
don't love me! You told me with words you said it, in words all too clear.
You don't love me! Why deny me the stars, the moon, and the sun? You don't
loye me! What's the use if roses, jasmine, and narcissus bloom? You don't
love me!
Rastlose Liebe (Restless love) Goethe
Against the snow, the rain, the wind in streaming gorges, through haze of mists
going ever onward, without pause or rest. I would rather struggle my way through
sorrows, than bear so much joy in life. All that yearning from heart to heart,
oh, how it engenders its own suffering. Where shall I flee? Take to the forests?
All, all would be in vain! Crown of existence, bliss without rest, you are love!
Per Zwerg (The dwarf) M. von Collin
In dusky light the mountains are already fading. The ship is floating on the smooth
, sea waves, bearing the queen and her dwarf. She looks upward into the high vault of
the sky, up into the blue distance woven with light, the pale milky way. "Never yet
have you lied to me, you stars" she cries, "I shall soon vanish. You tell me so.
Truly I shall be glad to die." Then the dwarf came to the queen, and began to tie
the cord of scarlet silk around her throat. He weeps, weeps as though heM blind
himself with grief. He speaks, "You yourself are to blame for this suffering, Because
you deserted me for the ^ing, your death alone can now reawaken my happiness. True,
I shall forever hate myself for having brought death upon you with this hand. Still
you must go to the grave early. She laid her hand on her heart, her heart so youths
ful. Bitter tears flowed from her eyes as she raised them in prayer to heaven.
"May you have no sorrow in my death.'’ She said. Then the dwarf kissed her pale
cheeks and she instantly lost all consciousness. The dwarf gazed on the lady
now in the arms of death. He sank her deep into the sea with his own hands. His
heart was full of longing and burned for her. He will never set foot on any
coast again.
Seligkeit (Bliss) Holty
Joys without number blossura in heaven's mansion- angels and transfigured
beings, as the fathers taught. Oh, I wish I were there- happy forever.
On each one there, a heavenly bride smiles sweetly. Harps and psaltries
sound. There is dancing and singing. Oh, I wish I were there- happy
forever. I would rather stay here if Laura would smile at me with a
glance that would say that my torments are ended. In bliss then with
her. r ' 1 I stay forever here!
1. Les Colombes (The Doves)
On the hill, down there by the tomb,
A beautiful palm tree, like a green feathered plume.
Lifts up its head, where at night
The doves come to roost and to hide.
But in the morn they leave the branches.
Like a broken necklace we see them
Scatter in the azure sky, all-white.
And come to rest far away, on a rooftop.
My soul is the tree whereon every night.
White swarms of mad visions
Fall from the sky with fluttering wings
To fly away at the first rays of the sun.
2. Chinoiserie (A Chinese Thing)
It is not you, no. Madam whom I love.
Nor is it you, Juliette, nor you, Ophelia, nor Beatrice,
Nor even Laura the blond, with her large gentle eyes.
She whom I love now is in China,
She lives with her old parents.
In a tower of exquisite porcelain.
By the yellow river where the cormorants dwell.
Her eyes are slanting towards her temples.
Her foot so small to hold in one's hand.
Her skin more light than the copper of lamps.
Her nails are long and rouged with carmine.
As she peers throught the trellis, her head
Is touched by the swallow in its flight.
And every evening, to vie with a poet.
Sing the willow and the peach tree blossom.
3. Seguidille
A tight skirt around her hips,
A huge comb in her coiled hair.
Nervous limbs and tiny feet.
Fiery looks, pale skin, white teeth,
Alza! Ola! Here she is! The real manola!*
Bold gestures, daring words.
Plenty of salt and pepper.
Totally oblivious of tomorrow.
Whimsical love and unbounded grace,
Alza! Ola! Here she is! The real manola.
To sing, to dance with castanets.
And at bullfights
To judge the thrusts of the toreros.
All the while smoking cigarettes,
Alza! Ola! Here she is! The real manola!
^Spanish word meaning "Spanish working girl .
Do You Know the Land?
Do you know the land where the lemon trees
bloom, in the dark foliage the golden orange
blossoms glow, a gentler wind blows from the
blue heaven, the myrtle stands silent and the
laurel tall? Do know it? There, there is
where I would like to go with you, my beloved!
Do^lyoolknofar.the^monntain and its cloudy
path? The mule searches for his way in
the mist-in the cave lives the dragon’s
ancient brood, the rock falls, and over \ :
it the flood; do you know it? There,
there lies our path, oh father, let us go!
Only he who knows Longing
Only he who knows longing knows what I
suffer! Alone and severed from all joy,
I search everywhere in the firmament.
Ah, those who love and know me are far
away. It sends me reeling, it burns
my bowels.
in the arms of a friend-then
the breast can pour itselfout
in sobs; but an oath seals my
— lips, and only a God can open
them.
Thus let me Shine
Thus let me shine as long as
I wish-take not the white
dress away from me. I hurry
from the lovely earth, to that
sturdy house. Thus I will rest
a little while in peace, and
then I will open my epes in a
fresh glance-I will give back
then the pure raiment, the girdle,
and the wreath, and those heavenly
forms ask not whether one is
man or woman, and no garments,
no folds surround the transfigured
body. Truly l have lived
without sorrow and troubles, but I
have felt enough deep pain;
from grief I have aged too early-
make me forever young again!
-Goethe
Do you know the house? On columns rests its
roof-the hall shimmers and the chamber glimmers,
and marble figures stand and look at me: what
have they done to you, you poor child? Do
you know it? There, there is where I would
like to go with you, my protector!
Bid me not Speak
Bid me not speak, bid me be silent,
for my secrecy is my obligation; I
want to show to you my entire inner
life, but fate doesn’t wish it. In
due time, the sun’s heat drives away
the gloomy night, and it must brighten
itself; the hard rock opens its bosom,
begrudging not the earth its deep
secret source. Everyone seeks peace
Tanglew®d Music Center
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
FIFTH CONCERT
Saturday, August 23, 1S86 at 2:00 P.M.
Chamber Music Hall
FIVE SONGS FRANZ SCHUBERT
Der Wanderer an den Mond
Liebesbotschaft
Nachtstuck
Lied eines Schiffers an die Dioskuren
Erl konig
Rogcn Say Ion., banitonc
Manganet KamprmA.cn, piano
PROSES LYRIQUE CLAUDE DEDUSSY
De reve
De gr£ve
De fleur
De soir
VanncJULe. Saanbaough, Aopnano
Tcnny Vecima, piano
SEXTET
DANA BRAYTOM
Guy TyMn, ba 6-6 Scott Stinting, pencuAtion
Joanna BaAActt, llute Mice Hantou), kanp
Bill Buonocom, banjo Vanict Shapino, piano
Dana Brayton: born 1952, Uoodstock 1968, Army 1971, West coast 1975, East coast
1982, Fellow in Composition, 1986 Tanglewood Music Center.
Sextet was written for a carpenter-banjo player in 1985. The piece developed around
the idea of the banjo attempting to play tonal music and continually being frus-
trated by the ensemble in its attempts to do so. Not until the very last cadence of
the piece is the banjo able to play the music which it was designed for.
-D.B.-
IrvtenmiA&ijon
THE DIARY OF ONE WHO VANISHED
LEGS JANACEK
Molten Vixon, tenon.
AiliAon Swen&en, mezzo Aoptia.no
Anne. McMillan, Aopnano
Pamela. Munnay, mezz o Aopnano
Michelle Shayne, mezzo Aopnano
Tenny Ve.eA.mci, piano
Jenny Vecima i& a member o the TMC vocal iaeaLty.
The Bnayton Sextet mn pnepaned by 0 Liven. KnuAAen.
THE PERFORMERS ASK THAT THERE BE APPLAUSE ONLY AT THE END OF EACH GROUP OF SONGS.
The singers in this recital are students in the Master Classes of Phyllis
Curtin, Tanglewood Music Center Artist-in-Residence for Vocal Music.
BALDWIN PIANO
-2-
Proses Lyriques, by Debussy
De Reve (A Dream)
The night has the tenderness of a woman, Are shedding like tears their lovely
And the old trees, under the golden moon, leaves of gold!
Are dreaming of her who has just passed No one will dedicate to them again
by. The glory of these golden helmets.
Her head wreathed in pearls. Now tarnished, tarnished forever:
Now brokenhearted, forever brokenhearted. The knights have died
They could not beckon to her... On the road to the Grail!
They are gone, all of them. The night has the tenderness of a woman.
The frail, the frenzied, Hands seeming to lightly touch our souls.
Sowing their laughter on the elegant Hands so frenzied, so frail,
lawn. For whom swords sang in olden times!
The enchanting caress of their fragrant Strange sighs arise from beneath the trees
hips on the light breezes. My soul is an ancient dream which embraces
Alas! Of all this, nothing is left but you.
a pale tremor. . .
The old trees under the' golden moon
De Greve (The Shore)
Over the ocean falls the twilight.
White unravelled silk.
The waves, like small wild creatures.
Chatter, like little girls coming from
school ,
In the rustling of their dresses.
Green iridescent silk!
The clouds, ponderous travelers,
Gather for the coming storm,
A background really far too dark
For this English watercolor.
The waves, the little waves.
Know no more where to go.
For here comes now the wretched downpour.
The rustling of billowing skirts,
De Fleurs (Flowers)
In the boredom, so drearily verdant.
Of the greenhouse of sorrow,
The flowers entwine about my heart
With their evil stems.
Oh! When will reappear about my head
Those dear hands so tenderly soothing?
The larne violet iris
Maliciously violated your eyes
By seeming to mirror them, -
They that were, in the dream, the water
Into which my illusions so gently
descended ,
Enveloped in their color;
And the lilies, white fountains of frag-
rant pistils.
Have lost their pure grace.
And are but poor sick objects without
sun!
De Soir (livening)
Sunday over the cities ,
Sunday in the hearts!
Sunday with the little girls.
Singing, with childish voices,
Persistent tunes
Or gay rounds.
And only a few days left for them!
On Sunday, the stations become frenzied!
Everybody is set
For some suburb or other.
Saying goodbye to one another
With bev/il dered gesture!
On Sunday the trains travel fast.
Devoured by insatiable tunnels;
And the faithful read signals
Communicate, through a single eye.
In altonether mechanical impressions.
Bewitched green silk!
But the moon, compassionate to all,
Comes to quiet this gray conflict,
And slowly cresses her little friends.
Who offer themselves, like loving lips.
To this warm and white kiss.
Then, nothing more...
Nothing but the tardy bells of the
floating churches,
Angel us of the waves.
White smooth silk!
Sun! Friend of evil flowers,
Destroyer of dreams, destroyer of
illusions.
That blessed bread of souls in misery!
Come! Come! Oh, hands of salvation!
Break the class panes of lies.
Creak the glass panes of sorcery.
My soul is dying of too much sun!
Mirages! Nevermore will joy bloom again in
my eyes.
And my hands are weary of praying.
My eyes are weary of weeping!
Eternally this senseless noise
Of black petals of boredom,
Falling drop by drop, on my head,
In the verdure of the greenhouse of
sorrow!
On Sunday, in the blue haze of my dreams.
My sad thoughts.
Of fireworks that were missed.
Will not leave off
Mourning for those Sundays that are gone.
And the night, on velvet feet.
Puts the lovely, weary sky to sleep.
And it is Sunday on the pathway of the
stars;
The virgin of gold on silver
Lets fall the flowers of slumber!
Quickly, little angels.
Overtake the swallows.
So that you may go to rest
With your sins all forgiven!
Have pity on the towns,
Have pity on the hearts.
You, virgin of gold on silver!
Translations
Five Songs, by Schubert
The Wanderer to the Moon
I on earth, you in the sky, we wander, briskly on:
I stern and dark, you mild and clear, I wonder what our difference is?
I wander, a stranger, from land to land, so homeless, so unknown;
up hill, down dale, into forest and out, yet nowhere am I at home.
But you - you wander up and down, from western cradle to eastern grave,
journey, a pilgrim, from land to land, yet are, wherever you be, at home.
The heavens, infinitely spread, are your beloved native land:
0 happy he. wherever he goes still stands upon his native soil.
Tidings of Love
Murmuring brooklet, so silver and bright
do you haste to my love so merry and fast?
Ah, dear brook, be my messenger
bring her greetings from one far away.
All her cherished flowers in the garden
that she so lovingly v/ears on her breast,
and her roses glowing crimson.
Brook, refresh with your cooling waters.
When she beside you, lost in dreams
thinking, of me, hangs her head low,
Console my sweetheart with a kindly look
for her beloved will soon return
When the sun sinks in a red gleam
rock my beloved into sleep.
Murmur her into sweet rest;
whisper her dreams of love.
Nightpiece
When the mist spreads over the mountains
and the moon struggles with the clouds,
the old man takes his harp
and goes into the forest singing softly:
You holy night, soon all will be ended.
Soon I will sleep the long sleep,
that will release me from all care.
The green trees are rustling:
Song of the seamen to the Pi oscuri
Sleep well you kind old man;
the grass whispers as it waves:
we will cover his resting place,
and there a bird calls sweetly:
"0 may he rest in his grave- of ' turf
The old man harkens,
the old man is silent
Heath has descended on him.
Dioscuri, twin star, you who light my path
calming to me, at sea. Ever mild ever watching
Even he who, firm rooted in himself, firmly stands
against the storm, feels in your radiance doubly bold and blessed.
This oar that I ply to part the sea's waves
Hang I, when I am sage, on the pillars of your temple, Dioscuri, Twin Star.
Erl -King
Who rides so late through night and wind?
It is the father with his child;
he has the child in his arms
he holds him safe, he keeps him warm.
"My son - why do you hide your face?"
"Father, don't you see the Erl king?
the Erl king in crown and robes?"
"My son, it is the mist."
"Dear child, come, go with me,
wonderful games will I play with you;
many flowers are on the shore
my mother has many golden garments."
"My father, don't you hear what the
Erl king softly promises?"
"Be quiet, stay quiet, my child: the
dry leaves rustle in the winds."
"Will you, fine boy, come with me?
My daughters will take good care of you,
my daughters lead our nightly dance
they'll rock and dance and sing to you."
"My father, don't you see there the Erl -
king's daughter in the gloom?"
"My son, I see very well: it is the old
willows glowing grey."
"I love you. Your beauty excites me,
if you are not willing, I’ll take you
forcefully. "
"My father, he seizes me! The Erl king
has hurt me."
The father shudders, he rides quickly,
He holds in his arms the moaning child.
He reaches the manor in great distress.
In his arms the child was dead.
-3-
MThe Diary of One Mho Vanished", by Jana^ek
An anonymous cycle of poems entitled 'From the Pen of a Self-taught Peasant'
appeared in the paper Li dove noviny on May 14 and 21, 1916. The editorial which
accompanied them read, in part, '"Some time ago, in an East Moravian highland village,
J.D., a law-abiding and industrious youth, the sole object of hope for his parents,
disappeared from home in a mysterious way. At first an accident or even a crime was
suspected Some days later, however, a diary was found in his room which disclosed
the secret. It contained several short poems which eventually provided the key to
the mystery!' ' (Jaroslav Vogel, Leos Janacek, W.W. Norton & Co., 1921)
The cycle consisted of 23 poems (number 14 consisted only of slashes) which
relate the romance of a farmer's son and a young gypsy girl. At first he is able to
resist her enticing glances, but one day his plough shaft breaks. He goes to cut a
new one in the nearby thicket even though he knows that 'dark Zeffka' may be waiting
there. He assures himself as well as his oxen that he can resist the temptation.
She speaks to him tenderly, then sings of the sad, bitter life of a gypsy. Teasing
him because of his shyness, she beckons him to jcorne and sit beside' her and offers
to show him her snow-white skin. As she shows him how gypsies make their bed his
own words come true: 'Who can escape his fate, for what must be, must be.' The
youth succumbs to her enticements: his fate is sealed. Every evening, despite pangs
of conscience, he runs to the thicket to meet Zeffka. He remains silent when his
sister is robbed, and in the end secretly leaves his home forever. Zeffka waits for
him with their son in her arms.
JanScek began composition of the "Diary" in August, 1917, and completed it on
June 25, 1919. However, it was not until April 18, 1921, that the work was given its
first public performance. The English translation is by Bernard Keeffe.
TANGLEWOOD MUSIC CENTER
The Tanglewood Music Center is maintained by the Boston Symphony Orchestra to
offer advanced training in music to young musicians of exceptional promise. The
Orchestra underwrites the cost of operating the Music Center with generous help from
donors to the Annual Fellowship Program and with the sustaining support of income
*rom the following permanent endowment funds:
Endowed funds for support of the instructional and performance program:
’lr. & Mrs. Edward L. Bowles Marian Douglas Martin Memorial
Mr. A. Werk Cook (Marilyn Brachman Hoffman)
lharles E. Culpeper Foundation Edward Shufro
The Honorable & Mrs. John H. Fitzpatrick Surdna Foundation Master Teacher
Peter H.B. Frel inghuysen William and Juliana Thompson
Louis Krasner Carl A. Weyerhaeuser 19G6 Trust
Anonymous (2)
Endowed
BayBanks
Leonard Bernstein
Charles E. Culpeper Foundation
Omar del Carlo
Clowes Fund
Fernand Gillet Memorial
Marie Gillet
Guarantor Fellowships
Ruth and H. Eugene Jones
Dr. John H. Knowles Memorial
Albert L. and Elizabeth P. Nickerson
Seiji Ozawa
Reader’s Digest
Peggy Rockefeller
Morris A. Schapi ro
Anonymous
Endowed Fellowships in the Following Names:
Mr. and Mrs. David B. Arnold, Jr.
Kathleen Hall Banks
Leo L. Beranek
Leonard Bernstein
Frederic and Juliette Brandi
Brookline Youth Concerts Awards Committee
Rosamond Sturgis Brooks Memorial
Helene R. and Norman L. Cahners
Marion Callanan Memorial
Stanley Chappie
Alfred E. Chase
Nat King Cole Memorial
Caroline Grosvenor Congdon Memorial
rappan Dixey Memorial
Arthur Fiedler/Leo Wasserman Memorial
Dr. Marshall !Y. Fulton Memorial
Juliet Esselborn Geier Memorial
Jerald Gel bloom Memorial
Armando A. Ghitalla
Ina and Haskell Gordon
John and Susanne Grandin
The Luke B. Hancock Foundation
Harold Hodgkinson
C.D. Jackson
Philip and Bernice Krupp
Lucy Lowell
Robert McClellan/ IBM Matching
Stephen and Persis Morris
Ruth S. Morse
Northern California Fund
Theodore Edson Parker Foundation
David R. and Muriel K. Pokross
William and Lia Poorvu
Daphne Brooks Prout
Harry and Mildred Remis
Hannah and Raymond Schneider
Surdna Foundation, Inc.
R. Amory Thorndike
Augustus Thorndike
William E. Crofut Family
Endov/ed Scholarships
Claire and Millard Pryor
"no Ethel Barber
Jcrkshire Chair
\lice Willard Dorr Foundation
'arlotta Dreyfus
jelly Eiseman
rre! inghuysen
Jascha Heifetz
ioward/Ehrl ich
Coussevitzky Centennial
Jill i am Kroll Memorial
Dorothy Lewis
Other Funds
Charles E. Merrill Trust
Northern California Audition
The Rothenberq/Carlyle Foundation Library
Asher J. Shuf fer
Edward G. Shufro
Mary H. Smith
Albert Spaulding
Jason Starr
TMC Fiftieth Anniversary
TMC General Scholarship
Anonymous
The Friends 0/ Music cut Tanglewood, an organization of, music lovers and
natrons, generously support the operation of the Tanglewood Music Center. Friends
vie invited to all concerts of the Tanglewood Music Center with a Family Season
'embership of $60, or an Individual, Season Membership of $40. Others attending
.ack TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for
orchestra concerts.
The Tanglewood Music Center is also supported by a grant from the National
'Indoument for the Humanities.
*7
Tanglew®d Music Center
NINTH CHAMBER MUSIC CONCERT
Sunday, August 24, 1986 at 10:00 A.M.
Theatre Concert Hall
PAepaA'ei by Eugene LehneA, GuAtav MeieA, JuIa.ua Lcvim ,
Louaa KAaAneA, and Leon EleiAheA
DVORAK BAGATELLES, Opus 47
Allegretto scherzando
Tempo Di Menuetto: Grazioso
Allegretto scherzando
Canon: Andante con moto
Poco Allegro
EtAuko TAuchida, violin
KaAen Bentley, violin
PARAM-VIR
Anddiew SchaAt , violin
Bing Wang, violin
TAinh Le Taung, viola
Matthew BaAl.ey, cello
Jenni&eA MatteAon, baAA
Scott McEIaolj, tAombone
Robc'it PatteAAon, peAcaAAion
Timothy AdcwA, peAcuAAion
Mia Axon, haAp
GuAtav MeieA, conductoA
Param-Vir has been active for many years as composer, conductor and teacher in fos-
tering a tradition of contemporary music-theatre for children in India. He founded
the Music-Theatre Workshop, an educational programme cf performing arts for the
young, and created, in collaboration with children, four works of music-theatre:
'Kidstuf (1979), 'The Demons of Bara Tooti' (1980), "Besura Desh' (1982) and 'Fall
Out' (1984). After attending Peter Maxwell Davies' composition class at Dartington
in the summer of 1983, Maxwell Davies encouraged him to return to England for a
longer period of study. Since 1984 he- has studied composition with Oliver Knussen.
Param-Vir is a Fellow in Composition at the 1986 Tanglewood Music Center.
KaAl PaaenA, cello
Benjamin Loeb, haAmonium
MUSIC FOR TWO CHAMBER ORCHESTRAS
MaAk SpcAkA , &lute
Jacqueline VeVoe, filute
Alexa liAbel, oboe
EAic OlAon, oboe
Lee CaAAoll, claAinet
EAic BcAelin, baAAoon
Ellen TomaAiewicz, ho An
B Aian Pocd, tAumpet
WeAley Nance, tAumpet
SCHUMANN
Sostenuto assai; Allegro ma non troppo
Scherzo: Mol to vivace
Andante cantabile
Finale: Vivace
A dniana Pc Ain, violin
KatAina Smith , viola
OUARTET FOR PIANO AND STRINGS IN
E-FLAT MAJOR, Opus 47
8 AyndiA BalduAAAon, cello
Michal Tal, piano
3ART0K CONTRASTS
Recruiting Dance
Relaxation
Fast Dance
Mani Sone, violin Michael PuAinek, claAinet
Benjamin Loeb, piano
BEETHOVEN
TRIO FOR PIANO AND STRINGS IN
E-FLAT MAJOR, Opus 70, No. 2
Poco sostenuto; Allegro ma non troppo
Allegretto
Allegretto ma non troppo
Finale: Allegro
Malle Kail, violin Rachel GsuibeA, cello
Ca/iol AficheJi, piano
BALDWIN PIANO
TANGLEWOOD MUSIC CENTER
The Tanglewocd Music Center Is maintained by the Boston Symphony Orchestra to
offer advanced training in music to young musicians of exceptional promise. The
Orchestra underwrites the cost of operating the Music Center with generous help from
donors to the Annual Fellowship Program and with the sustaining support of income
from the following permanent endowment funds:
Endowed funds for support of the instructional and performance program:
.Mr. & Mrs. Edward L. Bowles Marian Douglas Martin Memorial
Mr. A. Werk Cook (Marilyn Brachman Hoffman)
Charles E. Culpeper Foundation Edward Shufro
The Honorable & Mrs. John H. Fitzpatrick Surdna Foundation Master Teacher
Peter H.B. Frel inghuysen William and Juliana Thompson
Louis Krasner Carl A. Weyerhaeuser 19G6 Trust
Anonymous (2)
Endowed
BayBanks
Leonard Bernstein
Charles E. Culpeper Foundation
Omar del Carlo
Clowes Fund
Fernand Gill et Memorial
Marie Gi 1 let
Guarantor Fellowships
Ruth and H. Eugene Jones
Dr. John H. Knowles Memorial
Albert L. and Elizabeth P. Nickerson
Seiji Ozawa
Reader's Digest
Peggy Rockefeller
Morris A. Schapiro
Anonymous
Endowed Fellowships in the Following Names:
Mr. and Mrs. David B. Arnold, Jr.
Kathleen Hall Banks
Leo L. Beranek
Leonard Bernstein
Frederic and Juliette Brandi
Brookline Youth Concerts Awards Committee
Rosamond Sturgis Brooks Memorial
Helene R. and Norman L. Cahners
Marion Callanan Memorial
Stanley Chappie
Alfred E. Chase
Nat King Cole Memorial
Caroline Grosvenor Congdon Memorial
Tappan Dixey Memorial
Arthur Fiedler/Leo Wasserman Memorial
)r. Marshall N. Fulton Memorial
luliet Esselborn Geier Memorial
lerald Gel bloom Memorial
Armando A. Ghitalla
Ina and Haskell Gordon
John and Susanne Grandin
The Luke B. Hancock Foundation
Harold Hodgkinson
C.D. Jackson
Philip and Bernice Krupp
Lucy Lowell
Robert McClel lan/ IBM Matching
Stephen and Persis Morris
Ruth S. Morse
Northern California Fund
Theodore Edson Parker Foundation
David R. and Muriel K. Pokross
William and Lia Poorvu
Daphne Brooks Prout
Harry and Mildred Remis
Hannah and Raymond Schneider
Surdna Foundation, Inc.
R. Amory Thorndike
Augustus Thorndike
\ Endowed Scholarships
Jill i am E. Crofut Family Claire and Millard Pryor
Tno Ethel Barber
Berkshire Chair
Alice Willard Dorr Foundation
^arlotta Dreyfus
elly Eiseman
rel inghuysen
lascha Heifetz
ioward/Ehrl ich
'oussevitzky Centennial
lilliam Kroll Memorial
Dorothy Lewis
Other Funds
Charles E. Merrill Trust
Northern California Audition
The Rothenberq/Carlyle Foundation Library
Asher J. Shuf fer
Edward G. Shufro
Mary H. Smith
Albert Spaulding
Jason Starr
TMC Fiftieth Anniversary
TMC General Scholarship
Anonymous
The Friends of Music at Tangleswod, an organization of, music lovers and
matrons, generously support the operation of the Tanglewood Music Center. Friends
~ie invited to all concerts of the Tanglewood Music Center with a Family Season
unbershlp of $60, or an Individual Season Membership of $40. Others attending
ich TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for
>\cJiestra concerts.
The Tanglewood Music Center Is also supported by a grant from the Motional
Endowment for the Humanities.
V -
.
Tanglew(©d Music Center
TENTH CHAMBER MUSIC CONCERT
Sunday, August 24, 1S86 at 3:30 P.M.
Theatre Concert Hall
PAepaned by Pete* SenJzln, Ronald Feldman , Julius Levine,
Leon F lelsheA, VoAlot Anthony VwyeA, and Louis KAasneA.
BEETHOVEN PIANO TRIO IN G, Opus 121a
(Variations on the song "Ich bin
der Schneider Kakadu")
Kathy Hold, violin TAevoA Handy , cello
EAlka Nlcknenz, piano
ANDREW VORES "HAMMER AND DARKNESS, MIRROR AND KNIFE"
Keith Kaukizoe, Guy TyleA, basses
Jacqueline VeVoe, MaAk SpaAks, flutes, piccolo s
Elizabeth Stoyanovlch, Jane Rhoads, oboes
Jon GaandoA, Silvia CoAlcelli, bassoons
Vanlel Schulze, Tod BowemasteA, hoAns
Anthony VlloAenzo , PatAlck Kunkee, Moaij WebcA, tAampets
Michael Zion, Ronald.. CaAAeAa, .tAombones
Alan M egna RobeAt PatteASon, peAcusslon
Ronald Feldman, conductoA
Andrew Vores was born in 1S56 in Cardiff, Wales, and now lives in London. He is a
Fellow in Composition at the 1986 Tanolewood Music Center. "Hammer and Darkness,
Mirror and Knife" was written this summer at Tanglewood. The ensemble - winds,
brass, percussion, and basses - is used often at the extremes of its range; there is
little decorative writing; the music is largely raucous and loud.
MOZART QUINTET FOR CLARINET AND STRINGS IN A MAJOR, K. 581
Allegro
Larghetto
Menuetto
Allegretto con Variationi
James Tsao, violin Anna Schaum, viola
AndAetv Schast, violin Steven SlguAdson, cello
LaAAy Passln, claAlnet
Jnt.eAmlsslon
STRAVINSKY IN MEMO R I AM DYLAN THOMAS (1954)
I.
Dirge - Canons
(Prelude)
II.
Song - Do Not Go Gentle
(Foem by Dylan Thomas)
III.
Dirge - Canons
(Postlude)
JennlfieA MoAeau, violin
Ronald CaAAeAa, tAombone
Vlonlsla FeAnandez, violin
Scott McEIaoij , tAombone
Mercedes Leon, viola
hlchael Zion, tAombone
SAyndls BalduASSon, cello
HaAold l fan Schalk, tAombone
William Gotten,
tenoA
DEBUSSY
SONATA FOR FLUTE, VIOLA, AND HARP (1915)
Pastorale: Lento, dolce rubato
Interlude: Tempo di minuetto
Finale: Allegro moderato ma risoluto
Ka/ien Sandeas, viola Amt/ K. VoKtea, filute
A lice Ha/tlow, haap
SCHOENBERG.
VERKLARTE NACHT ( "Transf igured Night")
Soo-Veon K4.n1, violin
Jennltfea Moreau, violin
A ndh.es Vlaz, cello
Lynn Reciting, viola
Vavld Rubinstein, viola
Owen Young, cello
Transfigured Night
(Poem by Richard Dehmel )
Two people walk through the bare cold
woods ;
the moon runs along, they gaze at it.
The moon runs over tall oaks,
no cloudlet dulls the heavenly light
into which the black peaks reach.
A woman's voice speaks:
I bear a child, and not from you,
I walk in sin alongside you.
I sinned against myself mightily.
I believed no longer in good fortune
and still had mighty longing
for a full life, mother's joy
and duty; then I grew shameless,
then horror-stricken, I let my sex
be taken by a stranger
and even blessed myself for it.
Now life has taken its revenge:
Now I met you, you.
She walks with clumsy gait.
She gazes upward; the moon runs along.
Her somber glance drowns in the light.
A man's voice speaks:
The child that you conceived
be to your soul no burden,
oh look, how clear the universe glitters!
There is a glory around All,
you drift with me on a cold sea,
but a peculiar warmth sparkles
from you in me, from me in you.
It will transfigure the strange child
you will bear it me, from me;
you brought the glory into me,
you made my self into a child.
He holds her around her strong hips,
Their breath kisses in the air.
Two people walk through high, light
night.
BALDWIN PIANO
TANGLEWOOD MUSIC CENTER
The Tanglewood Music Center is maintained by the Boston Symphony Orchestra to
offer advanced training in music to young musicians of exceptional promise. The
Orchestra underwrites the cost of operating the Music Center with generous help from
donors to the Annual Fellowship Program and with the sustaining support of income
from the following permanent endowment funds:
Endowed funds for support of the instructional and performance program:
Mr. & Mrs. Edward L. Bowles Marian Douglas Martin Memorial
Mr. A. Werk Cook (Marilyn Brachman Hoffman)
Charles E. Culpeper Foundation Edward Shufro
The Honorable & Mrs. John H. Fitzpatrick Surdna Foundation Master Teacher
Peter H.B. Frel inghuysen William and Juliana Thompson
Louis Krasner Carl A. Weyerhaeuser 1966 Trust
Anonymous (2)
Endowed
BayBanks
Leonard Bernstein
Charles E. Culpeper Foundation
Omar del Carlo
Clowes Fund
Fernand Gill et Memorial
Marie Gil let
Guarantor Fellowships
Ruth and H. Eugene Jones
Dr. John H. Knowles Memorial
Albert L. and Elizabeth P. Nickerson
Seiji Ozawa
Reader's Digest
Peggy Rockefeller
Morris A. Schapiro
Anonymous
Endowed Fellowships in the Following Names:
Mr. and Mrs. David B. Arnold, Jr.
Kathleen Hall Banks
Leo L. Beranek
Leonard Bernstein
Frederic and Juliette Brandi
Brookline Youth Concerts Awards Committee
Rosamond Sturgis Brooks Memorial
Helene R. and Norman L. Cahners
Marion Callanan Memorial
Stanley Chappie
Alfred E. Chase
Hat King Cole Memorial
Caroline Grosvenor Congdon Memorial
Tappan Dixey Memorial
Arthur Fiedler/Leo Wasserman Memorial
Dr. Marshall N. Fulton Memorial
Juliet Esse! born Geier Memorial
Jerald Gel bloom Memorial
Armando A. Ghi tall a
Ina and Haskell Gordon
John and Susanne Grandin
The Luke B. Hancock Foundation
Harold Hodgkinson
C.D. Jackson
Philip and Bernice Krupp
Lucy Lowell
Robert McClellan/ IBM Matching
Stephen and Persis Morris
Ruth S. Morse
Northern California Fund
Theodore Edson Parker Foundation
David R. and Muriel K. Pokross
William and Lia Poorvu
Daphne Brooks Prout
Harry and Mildred Remis
Hannah and Raymond Schneider
Surdna Foundation, Inc.
R. Amo ry Thorndike
Augustus Thorndike
Endowed Scholarships
'Hilliam E. Crofut Family Claire and Millard Pryor
Other
Eno Ethel Barber
Berkshire Chair
Mice Willard Dorr Foundation
Carlotta Dreyfus
Belly Eiseman
:rel inghuysen
lascha Heifetz
!oward/Ehrl ich
Coussevitzky Centennial
lilliam Kroll Memorial
Dorothy Lewis
Funds
Charles E. Merrill Trust
Northern California Audition
The Rothenberq/Carlyle Foundation Library
Asher J. Shuf fer
Edward G. Shufro
Mary H. Smith
Albert Spaulding
Jason Starr
TMC Fiftieth Anniversary
TMC General Scholarship
Anonymous
The Friends orf Music at Tanglewood , an organization 0/ music lovers and
oatrons, generously support the operation ofa the Tanglewood Mu< sic Center. Friends
ire invited to all concerts ofi the Tanglewood Music Center with a F amity Season
embership 0/ $60, or an Individual Seaton Membership o{> $40. Others attending
Lack TMC event are asked to contribute a minimum ofi $5.00 at the gate, $6.00 far
orchestra concerts.
The Tanglewood Music Center is also supported by a grant faom the Motional
Endowment far the Humanities .
V .
TANGLEWOOD MUSIC CENTER VOCAL DEPARTMENT
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
PHYLLIS CURTIN SEMINAR
Sixth Recital
Monday, August 25, 1986 at 1:00 P.M.
Chamber Music Hall
FIVE SONGS
Der Stern
Der Pokal
Einerlei
Waldesf ahrt
Schlechtes Wetter
Ann McMillan, soprano
Michael Beattie, piano
HISPANIQJJES
Nocturne
Paralleles
Montmatre
Juan Tenorio
James Ruff, tenor
Philip Highfill, piano
FOLKSONGS
Ca' the yowes
How sweet the answer
Waly, Waly
0 the sight entrancing
The trees they grow so high
Teri Medley, soprano
Philip Highfill, piano
FOUR SONGS
Der Gang zum Leibchen
Nicht mehr zu dir zu gehen
0 Kaihler Wald
Bei dir sind meine Gedanken
Jeanne Okrasinski, mezzo-soprano
Thomas Dewey, piano
GESANGE DES HARFNERS
I
II
III
Mark Carlisle, tenor
Jeffry Johnson, piano
RICHARD STRAUSS
CARLOS PEDRELL
BENJAMIN BRITTEN
JOHANNES BRAHMS
FRANZ SCHUBERT
FOUR SONGS
PAUL HINDEMITH
Echo
The Moon
Sing on there in the Swamp
The Wistlin' Thief
Barbara Youmans-Nunes , mezzo-soprano
Kenneth Grigg, piano
CHANSON GAILLARDES FRANCIS
A
La Maitresse Volage
Madrigal
L ' Of f rande
La Belle Jeunesse
Serenade
Christopheren Nomura, baritone
Jeffry Johnson, piano
PASTORALES CARLOS
Andabamos, monte arriba
Que blanca viene la luna !
Novia del Campo
Joanne Mouradjian, soprano
Margaret Kampmeier, piano
'ON THIS ISLAND' BENJAMIN
Let the florid music praise
Now the leaves are falling fast
Seascape
Nocturne
As it is, plenty
Anna Moser, soprano
Thomas Dewey, piano
POULENC
PEDRELL
BRITTEN
HISPANIQUES by Carlos Pedrell
text by Rene Chalupt
Nocturne
All lies in heavy slumber
Veiled in darkness and silence:
One hears only the splashing
In the clay fountain.
A palm sways in the sky...
In the deserted alley
Nothing but a stray cat,
swift prowler with the fluid step;
A faint sultry breeze
Carries clouds of fragrance.
A rose, opened in secret,
Appears against the grillwork
Of the half-closed window —
its perfumed corolla
Shines like a burning lamp!
I rise to grasp it
And already my two lips touch
The passionate flower, which.
Under its caress, my desire
Forces open
Soledad? Pilar?
Which one is it?
Parallels
While you were dancing
A grey cat meowed in the gutter
The shock of your heels against the earth
Stirred clouds of dust.
Your whirling shawl took flight
While you were dancing.
While you were sewing
Guiding the needle with your alabaster fingers
Through the light organdy dress,
A cricket sang, tenacious, in the fireplace
Under the ashes of the cooled hearth.
While you were sewing.
While you were praying
For the salvation of your perishable flesh
And the remission of your sins.
Evil laugh, like that of the devil,
A raven cawed in the belfry.
While you were praying.
While you were sleeping
Under the delicate mosquito net of gauze
And an even breath raised your breast,
A dove cooed in ecstasy.
Sitting on the rounded edge of the fountain.
While you were sleeping.
Mo n_t_ma_r j1 re
The plaintive accordion is sobbing.
The regulars are drunk
The Champagne flows freely.
The multi-lingual dancers.
The sweetish odor of tobacco
And perfumed flesh
Coils in the flowing smoke
That does not rise.
What are you dreaming about,
Argentinian girl.
To the rhythm of the tango
Followed by your even steps
Far into the morning?
Is it about the beach at Biarritz,
About seaside holidays.
Fast cars, rings, and gowns for the Ritz?
Is it about the limitless pampas
Where you reign afar
Over twenty farms and at least
A thousand head of cattle?
Or maybe, on board the ocean liner,
About that too tender cabin boy
Whose lips were both hard and soft
And whose glance was so alluring?
Juan Tenorio
On his bay colored horse
Who passes through the Calle Mayor
Nodding at all the beauties?
Could one dream of any more noble than these
So graceful and high mannered?
The king himself in Madrid with his
Golden Fleece doesn't look as proud.
The prudish ones don't want to be the last
To catch his glance.
Neither do the devout ones, who are
Without pretense.
Nor those who put on airs.
Each one will be smitten sooner or later
By the fire of his golden eyes.
Sleep with one eye open, old husband;
In spite of his sugary ways.
Keep your wife under lock and key!
Guardian, keep a good watch over your ward!
Lover, remember how to be jealous!
And you, who, to be well at ease.
Young and too presumptuous husband.
Yesterday, before the Archbishop of Seville
Put that ring of great price
On the finger of a proper and rich widow.
Don't believe that you are safe either:
Tomorrow you will have new headgear!
Der Stern
(The Star)
STKAUSS
L see the lovely star again
He winks down here and
Comes near me willingly;
He warms and sparkles
Now nearer he comes,
He obscures the others
And oppresses hearts.
His hair flying
He hurries to me,
People dream of victory
I dream of peace.
The others read
The future from it.
For me past times
Shine inside.- ~
Der Pokal (The Goblet)
Friend, raise the goblet
To every foreign world of humankind.
Which lights up, comes together.
Takes pleasure.
On the same sunbeam.
Happiness to the unknown beings.
Light-sent, heart-related.
Which eyes pass over
When they are looking at the sun.
Schlechtes Wetter (Rotten Weather)
This is rotten weather
Its raining and storming
And snowing.
1 im sitting at the window
And looking out into the darkness.
There glimmers a solitary little light
Which changes slowly;
A mother with a lantern
Staggers across the street.
1 think.
Flour and e^cps and butter
She has bought;
She’s going to bake a cake
For her fat little daughter.
She stays inside in an armchair.
And blinks sleepily in the light;
Her golden locks flowing
Over her sweet face.
Einerlei (Sameness)
Her mouth is always the same
Her kiss ever new to me
Her eyes still the same
Their frank gaze true to me
0 you lovely one-and-the-same
How much diversity comes from you.
Waldesf ahr t (A Drive in the Woods)
My wagon rolls slowly through
The cheerful forest,
Through blooming valleys
Which magically blossom in the sunshine.
I sit and feel and dream
And think about my beloved -
There greeting me are three shadowy shapes
Nodding to the wagon
They skip about and make faces
So mocking and yet so shy.
And twirl like mist together
They giggle and they scurry by.
I sit and feel and dream
And think about my beloved.
Ca 1 the yowes Arranged by Benjamin Britten
Call the Ewes Words by Robert Burns
Ca' the yowes to the knowes, Ca ' them where the heather growes.
Ca ' them where the bumie rowes, my bonnie dearie.
Hark the mavis evening sang, Sounden Clouden's woods amang;
Then afolding let us gang, my bonnie dearie.
Refrain Ca ' the yowes to the knowes, Ca' them where the heather growes.
Ca' them where the burnie rowes, my bonnie dearie.
We'll gang down by Clouden side, through the hazels spreading wide
O'er the waves that sweetly glide to the moon sae clearly.
Refrain
Fair and lovely as thou art, thou hast stol'n my very heart
I can die but canna part, my bonnie dearie.
Refrain
How sweet the answer Arranged by Benjamin Britten
How sweet the answer Echo makes to music at night;
When, rous'd by lute or horn, she wakes, and far away,
o'er lawns and lakes, goes answering light.
Yet love hath echoes truer far, and far more sweet,
than e'er beneath the moonlight's star, of horn, or lute, or soft guitar,
the songs repeat.
'Tis when the sigh, in youth sincere, and only then-
The sigh, that's breath'd for one to hear, is by that one, that only dear.
Breath'd back again, again, again, again, again...
Waly, Waly Arranged by Benjamin Britten
The water is wide, I cannot get o'er, and neither have I wings to fly.
Give me a boat that will carry two and both shall row my love and I.
A'down in the meadows the other day, a 'gathering flowers both fine and gay.
A 'gathering flowers both red and blue. I little thought what love can do.
I leaned my back up against some oak, thinking that he was a trusty tree.
But first he bended, and then he broke, and so did my false love to me.
A ship there is and she sails the sea. A loaded deep as deep can be.
But not so deep as the love I'm in, I know not if I sink or swim.
0 love is handsome and love is fine, and loves a jewel while it is new.
But when it is old, it groweth cold and fades away like morning dew.
O the sight entrancing Arranged by Benjamin Britten
O the sight entrancing, when morniag's beam is glancing
O'er files array'd with helm and blade, and plumes in the gay wind dancing.
When hearts are all high beating, and the trumpet's voice repeating.
That song whose breath may lead to death, but never to retreating.
Then if a cloud comes over the brow of sire or lover,
think 'tis the shade by vict'ry made, whose wings right o'er us hover.
rain 0 the sight entrancing, when morni^'s beam is glancing
O'er files array'd with helm and blade, and plumes in the gay wind dancing.
Yet 'tis not helm or feather- For ask yon despot whether.
His plumed bands could bring such hands and hearts as ours together.
Leave pomps to those who need 'em- Adorn but man with freedom,
and proud he braves the gaudiest slaves that crawl where monarchs lead'em.
The sword may pierce the beaver, stone walls in time may sever
'Tis mine alone, worth steel and stone, that keeps men free forever J
Refrain
The trees they grow so high Arranged by Benjamin Britten
Somerset Folksong
The trees they grow so high and the leaves they do grow green,
and many cold winter's night my love and I have seen.
Of 1 a~ cold winter's night, my love, you and I alone have been,
whilst by bonny boy is young, he's a growing.
Growing, growing, whilst my bonny boy is young he's a growing...
0, father, dearest father, you've done to me great wrong,
you've tied me to a boy when you know he is too young.
0 daughter, dearest daughter, if you wait a little while,
a lady you shall be while he's growing.
Growing, growing, a lady you shall be while he's growing...
I'll send your love to college all for a year or two,
and then in the meantime he will do for you.
I'll buy him white ribbons, tie them round his bonny waist,
to let the ladies know that he's married.
Married, married, to let the ladies know that he's married.
1 went up to the college and I looked over the wall ,
saw four and twenty gentlemen playing at bat and ball.
I called for my true love, but they would not let him come,
all because he was a young boy and growing.
Growing, growing, all because he was a young boy and growing.
At the age of sixteen, he was a married man. . .and at the age of seventeen he
was father to a son. . .and at the age of eighteen the grass grew over him, cruel
death soon put an end to his growing. Growing, growing, cruel death soon put
and end to his growing.
and now my love is dead and in his grave doth lie.
The green grass grows o'er him so very, very high.
I'll sit and I'll mourn his fate until the day I die,
and I'll watch all o'er his child while he's growing.
Growing, growing, and I'll watch all o'er his child while he's growing
FOUR BRAHMS SONGS
Der Gang zum Liebchen
(The Walk to My Sweetheart)
from the Bohemian Folklore
0 kuhler Wald
(.Oh Cool Forest)
Brentano
The moon shines down,
I should go again
to my sweetheart;
how goes it with her?
Oh woe, she despairs,
and laments, and complains,
that she will never
see me again.
The moon went down,
I hurried though lively,
and hurried, that no one
would kidnap my sweetheart.
You little doves, oh coo,
you breezes, oh stir,
that no one will
kidnap my sweetheart.
NixdxL._tiieIir.zu dir zu gehen
(To Go No More to You)
H. v. Daumer
To go no more to you
I decided and I swore;
yet I go every every evening
because I have lost all
strength and all control.
I want to live no more,
I wish at this moment
to perish, yet I still
want to live for you,
with you, and never,
never die.
Oh, speak, say only one word,
one single, clear word;
give life or death to me,
only reveal to me
your true feelings.
Oh cool forest, in which my
sweetheart goes, where do you rustle?
Oh echo, that understands my songs,
where do you listen?
Deep in my heart rustles the forest
in which my sweetheart goes;
the echo sleeps in sorrow,
the songs have wafted away.
Bei dir sind meine Gedanken
(With You are My Thoughts)
Halm
With you are my thoughts and
they flutter, flutter around you;
they say they are homesick,
that they could not stay here anymore.
With you are ray thoughts, and
they will not leave from you;
they say that this is the most
beautiful place on earth.
They say that your magic held them,
bound forever; that on your glances
they had burned their wings.
Geddnge des Harfners I
He who yields himself to solitude.
Ah, he is soon alone;
Other men live, other men love.
And leave him to his woe.
Yes, leave me to my anguish!
And if I can but once
Be truly solitary,
Then I am not alone.
A lover softly creeps and listens
To hear whether his girl is alone.
So I am dogged, by day and night,
In my solitude by pain.
In my solitude by anguish.
Ah, if only I were once and for all
solitarv in my grave.
Then anguish would leave me alone!
Gesange des Harfners II
Who never ate his bread with tears.
Who never through the sorrowful nights
Sat weeping upon his bed.
He knows you not, you heavenly powers!
You bring us into existence.
You cause the poor wretch to become guilty.
And then abandon him to suffering;
For all guilt pavs its penalty on earth.
Gesange des Harfners III
To the doors I will creep.
Still and humble I will stand;
A pious hand will stretch out food to me,
And I will go on my way.
Everyone will seem to himself fortunate
When my poor form appears before him.
Everyone will shed a tear.
And I know not why he should weep.
PASTORALES (Juan Jimenez) Carlos Pedrell
Andabamos, monte arriba
We were ascending the mountain, bathed in moonlight. You gave me a bouquet of
rosemary, Blanca, Do you remember? How pale your hand was in the blue dusk.
How pale your hand was in the blue dusk. How your eyes looked. Oh, how they
appeared! The light of the moon was snowing on the black mountains. Its sadness,
like white lilies, were not as white as you. White Blanca! You pened the flower
of your youth to me. I know that for me you would have nailed Christ to the cross.
I know well that for me you gav® everything- your life, your death, your...
I know well that you would have lain down in a coffin. Blanca, who could give all
his heart in a ray of moonlight, in a bouquet of rosemary...
Que blanca viene la luna !
How white the moon appears! Ay! Yesterday afternoon the girl of the mill village
died. She was the rose and music of the valley. The new mill is crying like a
mother. When they carried the coffin, the valley started to cry. The coffin was
white and rose and the lid was of crystal. The new mill is crying like a mother.
The girl was white in a nest of orange blossoms. They say that no courter had ever
kissed her. Ah! The new mill is crying like a mother. On the road back from the
cemetery the shepherd returned singing a sad couplet to the afternoon star. How
the mill cried! The new mill is crying like amother. Ah! Ay!
Novia del Campo
Girl from the country, poppy open in the wheat, my little poppy, will you marry me?
I will give you all my soul. You will have bread and water- and my entire soul.
You will have a ppor house. I will love you like a child. You will have a modest
house filled with sunshine and affection. I will plow your field. You will go to
the fountain for water. I will irrigate your field with the sweat of my forehead.
Poppy of the road, red like a heart, I will make you sing to the rhythm of the mill
wheel. I will make you sing to the rhythm of the wounded mill wheel. I will open
my heart to you. Poppy of my life! Girl from the country, poppy open in the wheat,
will you marry me?
Chansons Gaillardes (Ribald Songs)
Francis Poulenc (Anonymous 17th cent, texts)
The Fickle Mistress
My mistress is fickle, my rival
she must have had two. Let's
is fortunate. If he has her virginity,
chance our luck, as long as it will last.
Madrigal
You are as beautiful as an angel, sweet as a little lamb:
There is not a heart, Jeanne, that has not fallen beneath your spell*
but a girl without tits is a partridge without orange.
The Offering
To the god of love a virgin offered a candle one day,
thus to gain a lover.
The god smiled at her request and said to her:
"Fair one, while you wait, the offering always has its uses."
The Beauty of Youth
You should love always and seldom marry.
You should make love without priest or notary.
Cease, good sirs, to be marrying men,
only aim at the ' tirelires', only aim at the ' tourelours ' ,
only aim at the hearts.
Why marry, when the women need no persuasion to become ours.
When their ardours, when their favors,
seek our 'tirelires', seek our 'tourelours',
seek our hearts.
Serenade
With so fair a hand, possessed of so many charms
that you must indeed handle Cupid's darts!
And when the child is troubled wipe away its tears.
3. Seascape
Look, stranger , at this, island now
The leaping light for your delight discovers.
Stand stable here
And silent be.
That through the channels of the ear
May wander like a river
The swaying sound of the sea.
Here at the small field's ending pause
Where the chalk wall falls to the foam.
And its tall ledges oppose the pluck
And knock of the tide.
And the shingle scrambles after the sucking surf.
And the gull lodges a moment on its sheer side.
Far off like floating seeds the ships
Diverge on urgent voluntary errands;
And the full view indeed may enter
And move in memory as now these clouds do.
That pass the harbour mirror
And all the summer through the water saunter.
4 . Nocturne
Now thro'night's caressing grip
Earth and all her oceans slip.
Capes of China slide away
From her fingers into day
And th'Americas incline
Coasts towards her shadow line.
Now the ragged vagrants creep
Into crooked holes to sleep:
Just and unjust, worst and best.
Change their places as they rest:
Awkward lovers lie in fields
Where disdainful beauty yields:
While the splendid and the proud
Naked stand before the crowd
And the losing gambler gains
And the beggar entertains:
May sleep's healing power extend
Through these hours to our friend.
Unpursued by hostile force.
Traction engine, bull or horse
Or revolting succubus;
Calmly till the morning break
Let him lie, then gently wake.
5. As it is, plenty
As it is, plenty;
As it's admitted
The children happy
And the car, the car
That goes so far
And the wife devoted:
To this as it is.
To the work and the banks
Let his thinning hair
And his hauteur
Give thanks.
All that was thought
As like as not, is not;
When nothing was enough
But love, but love
And the rough future
Of an intransigent nature
And the betraying smile.
Betraying , but a smile:
That that is not, is not;
Forget.
Let him not cease to praise
Then his spacious days;
Yes, and the success
Let him bless.
Let him see in this
The profits larger
And the sins venal.
Lest he see as it is
The loss as major
And final.
(Words by W.H. Auden)
Anna Moser and Tom Dewey
Benjamin Britten:"On This Island"
l.Let the florid music praise
Let the florid music praise.
The flute and the trumpet.
Beauty's conquest of your face:
In that land of flesh and bone,
Where from citadels on high
Her imperial standards fly.
Let the hot sun shine on.
0 but the unlov'd have had power.
The weeping and striking.
Always, always; time will bring their hour
Their secretive children walk
Through your vigilance of breath
To unpardonable death.
And my vows break
Before his look!
2. Now the leaves are falling fast
Now the leaves are falling fast.
Nurse's flowers will not last;
Nurses to the graves are gone
And the prams go rolling on.
Whispring neighbours , left and right.
Pluck us from the real delight;
And the aktive hands must freeze
Lonely on the seperate knees.
Dead in hundreds at the back
Follow wooden in our track,
Arms raised stiffly to reprove
In false attitudes of love.
Starving through the leafless wood.
Trolls run scolding for their food;
And the nightingale is dumb.
And the angel will not come.
Cold , impossible , ahead
Lifts the mountain's lovely head
Whose white waterfall could bless
Travellers in their last distress.
Tandew<©d Music Center
TANGLEWOOD OK PARADE 1986
2:10 Fanfares
Oliver Knussen, conductor
Knussen: Fanfares for Tanglewood
Ronald Barron, conductor
Williams: Olympic Fanfare and Theme
Jacob: Salute to U.S.A.
Williams: Liberty Fanfare
2:30 Boston University Tanglewood Institute Young Artists Orchestra Shed
Eiji Oue, conductor
Tchaikovsky: Overture "Romeo and Juliet"
Stravinsky: Suite from "The Firebird"
Vaughan-Uill iams : Fantasia on a Theme of Thomas Tallis
2:45 Fellowship Program Vocal Concert Chamber Music Hall
Brahms: Six Senas
Five Itai ian Songs
Ives: Six Songs
Obradors: Classical Spanish Songs
Rachmaninoff: Six Songs
3:30 Fellowship Program Chamber Music Theatre
Knussen: Four Little Monsters, tor double bass quartet
Mendelssohn: Piano Trio in d minor
Strauss: Serenade, Opus 7
Dvorak: Quintet for Strings, Opus 77
Bartok: Sonata for Two Pianos and Percussion
Mozart: Quintet for Strings, K. 515
Saint Saens: Fantaisie for Violin and Harp
Brahms: Quartet for Strings, Opus 51, no. 1
Beethoven, Quartet for Strings, Opus 18, no. 2
4:00 Boston University Tanglewood Institute Chamber Music Chamber Music Hall
Bartok: Mikrokosmos, movements 1, 4, 5
Dvorak: Quintet for Piano and Strings, 1st movement
Francaix: Quartet for Woodwinds
Brahms: String Sextet, Opus 36, movements 2, 3
Lebow: Suite for Crass
5:00 Boston University Tanglewood Institute Young Artists Chorus Shed
Schutz: Psalm 100
Weelkes: Gloria in excel sis Deo
Verdi: Laudi alia vergine Maria
Five Fol k Songs
Dello Joio: Song of the Open Road
5:30 Alpine Hern Demonstration Lawn near Main House
(Chamber Music Hall if rain)
6:00 Fellowship Program Wind Music Main House Porch
Mozart: Selections from "Cosi Fan Tutti" (Chamber Music Hall if rain)
Selections from "The Abduction from the Seraglio"
8:15 Fanfare: Roger Voisin, conductor
Copland: Fanfare for the Common Man
8:40 Fanfare: Charles Daval , conductor
Strauss: Feierlicher Einzug
8:50 Baldwin Piano Raffle Drawing
Seiji Ozawa, Gene Shalit
9:00 Gala Concert Shed
Boston Symphony, Tanglewood Music Center, Boston University
Young Artists Orchestras
Leon 'Fleisher , Seiji Ozawa, John Williams, conductors
fireworks over Lake Mahkeenac
The Tanglewood Music Center is a summer training center for especially promising
young musicians, maintained by the Boston Symphony Orchestra.
Rear of Shed
Shed Stage
Shed Stage
Main Gate Drive
(Shed if rain)
Tuesday, 26 August 1986
For the benefit of the Tanglew®d Music Center
Win a
Baldwin !
Benefit the
Tanglew®d Music Center
Scholarship Fund.
Enter the Raffle
of a Baldwin Baby
Grand Piano* Played
This Summer at
Tanglewood
($15,000 value).
Donation -$2/ Ticket
$10 /Book of Six Tickets
Tickets available at the
Friends Office. Or visit the
Raffle Booth located on
the grounds near The
Glass House and
Tanglewood Music Store;
open from 6 pm through
intermission of each
BSO concert.
Drawing Today!
T anglewood-on-Parade
T uesday, August 26, 1 986
Winner will be notified.
*a smaller piano (spinet
or console) available, if
preferred. Delivery included,
continental U S. Employees
of the BSO and their
families not eligible.
Tanglewood on Parade
Tuesday, 26 August 1986
Tanglew®d
Music
Center
For the Benefit of the Tanglewood Music Center
2:00
Gates Open
5:30
Alpine Horn Demonstration
2:10
Brass fanfare at
Main Gate Drive:
(Lawn near
Chamber Music Hall)
Ronald Barron
5:45
Balloon Ascension
(Rear of Shed in
(Lawn near Box Lot,
case of rain)
weather permitting)
2:30
Boston University
6:00
Tanglewood Music Center
Tanglewood Institute
Fellowship Wind Music
Young Artists Orchestra
(Main House Porch;
(Shed)
Shed if rain)
2:45
Tanglewood Music Center
7:00
Berkshire Highlanders
Fellowship Vocal Concert
(Lion Gate; rear of
(Chamber Music Hall)
Shed if rain)
3:30
Tanglewood Music Center
8:00
Eastover Train
Fellowship Chamber Music
(Main Gate)
(Theatre-Concert Hall)
8:15
Fanfare at rear of Shed:
4:00
Boston University
Roger Voisin
Tanglewood Institute
Chamber Music Concert
(Chamber Music Hall)
8:40
Fanfare from Shed stage:
Charles Daval
5:00
Boston University
Tanglewood Institute
8:50
Raffle Drawing
(Shed Stage)
Young Artists Chorus
9:00
Gala Concert
(Shed)
(Shed)
Hot air balloon courtesy Charles Joseph of Lebanon, New Jersey
Alpine horns courtesy BSO horn player Daniel Katzen
Artillery, cannon, and train supplied by Eastover, Inc.
Scottish folk music courtesy the Berkshire Highlanders
Fireworks over the Stockbridge Bowl following the Gala Concert
A Message from Seiji Ozawa
Tanglewood-on-Parade is a festive day
with a serious and important purpose, to
provide funds to help support the Tangle-
wood Music Center. In fulfillment of
Serge Koussevitzky’s dream, young musi-
cians come to this beautiful setting
to study with members of the Boston
Symphony Orchestra, and on this day the
two orchestras traditionally make music
together.
The Tanglewood Music Center is the
only institution of its kind administered
and financed by a major symphony or-
chestra. The 150 Fellows who come here
from thirty states and fifteen foreign coun-
tries pay no tuition and are offered free
room and board. This freedom from finan-
cial concerns for the summer gives these
gifted young musicians an opportunity
to focus all of their attention on a very
intense level of music-making. It is a fan-
tastic experience, one which will influ-
ence most of the Fellows for the rest of
their lives.
The summer I spent here as a Fellow in
1960 was one of the most challenging and
stimulating periods of my musical life.
Can you imagine what it is like for a young
musician to be inspired by the Boston
Symphony Orchestra, the preeminent
guest conductors and soloists performing
at Tanglewood, and the magnificent sur-
roundings of the Berkshires?
Because the Tanglewood Music Center
is very costly to operate, we are now in-
volved in a $12 million campaign with
the goal to make the Tanglewood Music
Center self-supporting and to provide a
new Theatre-Concert Hall, the site of the
student performances.
Your attendance at this benefit concert
supports the Music Center. We invite all
of you who share our love for great music
to participate in the Tanglewood Music
Center’s 50th Anniversary Campaign. In
1990 we hope to celebrate the successful
completion of the campaign and look
forward to an even more glorious future.
The Tanglewood Music Center
Tanglewood is much more than a pleas-
ant, outdoor, summer concert hall; it is
also the site of one of the most influential
centers for advanced musical study in the
world. Here, the Tanglewood Music
Center, which has been maintained by
the Boston Symphony Orchestra ever
since its establishment (as the Berkshire
Music Center) under the leadership of
Serge Koussevitzky in 1940, provides a
wide range of specialized training and
experience for young musicians from all
over the world. Now in its second year
under Artistic Director Leon Fleisher,
the Tanglewood Music Center looks for-
ward to celebrating its first half-century
of musical excellence in 1990.
The TMC was Koussevitzky s pride and
joy for the rest of his life. He assembled
an extraordinary faculty in composition,
operatic and choral activities, and instru-
mental performance; he himself taught
the most gifted conductors. The school
opened formally on 8 July 1940, with
speeches (Koussevitzky, alluding to the
war then raging in Europe, said, “If ever
there was a time to speak of music, it is
now in the New World”) and music, the
first performance of Randall Thompson’s
Alleluia for unaccompanied chorus,
which had been written for the ceremony
and had arrived less than an hour before
the event was to begin, but which made
such an impression that it has remained
the traditional opening music each summer.
The emphasis at the Tanglewood Music
Center has always been not on sheer
technique, which students learn with
their regular private teachers, but on
making music. Although the program has
changed in some respects over the years,
the emphasis is still on ensemble per-
formance, learning chamber music with a
group of talented fellow musicians under
the coaching of a master-musician-
teacher. Many of the pieces learned this
way are performed in the regular student
recitals; each summer brings treasured
memories of exciting performances by
talented young professionals beginning a
love affair with a great piece of music.
The Tanglewood Music Center
Orchestra performs weekly in concerts
covering the entire repertory under the
direction of student conductors as well as
members of the TMC staff and visitors
Serge Koussevitzky
who are in town to lead the BSO in its
festival concerts. The quality of this
orchestra, assembled for just eight weeks
each summer, regularly astonishes vis-
itors. It would be impossible to list all the
distinguished musicians who have been
part of that annual corps of young people
on the verge of a professional career as
instrumentalists, singers, conductors,
and composers. But it is worth noting
that 20% of the members of the major
orchestras in this country have been
students at the Tanglewood Music Center,
and that figure is constantly rising.
Today there are three principal pro-
grams at the Tanglewood Music Center,
each with appropriate subdivisions. The
Fellowship Program provides a demanding
schedule of study and performance for
students who have completed most of
their training in music and who are
awarded fellowships to underwrite their
expenses. It includes courses of study for
instrumentalists, vocalists, conductors,
and composers. The Tanglewood Seminars
are a series of special instructional pro-
grams, this summer including the Phyllis
Curtin Seminar for Singers, a Listening
and Analysis Seminar, and a Seminar for
Conductors. Beginning in 1966, educa-
tional programs at Tanglewood were ex-
tended to younger students, mostly of
high-school age, when Erich Leinsdorf
invited the Boston University School for
the Arts to become involved with the
Boston Symphony Orchestra’s activities
in the Berkshires. Today, Boston Univer-
sity, through its Tanglewood Institute,
sponsors programs which offer individual
and ensemble instruction to talented
younger musicians, with ten separate
programs for performers and composers.
Today, alumni of the Tanglewood Music
Center play a vital role in the musical life
of the nation. Tanglewood and the Tangle-
wood Music Center, projects with which
Serge Koussevitzky was involved until his
death, have become a fitting shrine to his
memory, a living embodiment of the vital,
humanistic tradition that was his legacy.
Gala Concert
TANGLEWOOD ON PARADE
Tuesday, 26 August at 9
For the Benefit of the Tanglewood Music Center
BOSTON SYMPHONY ORCHESTRA
TANGLEWOOD MUSIC CENTER ORCHESTRA
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
YOUNG ARTISTS ORCHESTRA
SEIJI OZAWA,
JOHN WILLIAMS, and
LEON FLEISHER conducting
Tanglew®d
Music
Center
BORODIN
RAVEL
WILLIAMS
“Polovtsian Dances,” from the opera Prince Igor
TANGLEWOOD MUSIC CENTER ORCHESTRA and
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
YOUNG ARTISTS ORCHESTRA,
LEON FLEISHER, conductor
Daphnis and Chloe, Suite No. 2
BOSTON SYMPHONY ORCHESTRA,
SEIJI OZAWA, conductor
INTERMISSION
“Adventures on Earth,” from E.T.
“Yoda’s Theme,” from The Empire Strikes Back
Main Title from Star Wars
TANGLEWOOD MUSIC CENTER ORCHESTRA,
JOHN WILLIAMS, conductor
TCHAIKOVSKY Ceremonial Overture, 1812
BOSTON SYMPHONY ORCHESTRA and
TANGLEWOOD MUSIC CENTER ORCHESTRA,
JOHN WILLIAMS, conductor
Baldwin piano
The Tanglewood Music Center is funded in part by a generous grant from the
National Endowment for the Arts in Washington, D.C.
Notes
Surely Alexander Borodin (1833-77) composed the best music ever written by a
practicing chemist. He received a doctorate for his dissertation On the Analogy of
Arsenical with Phosphoric Acid, while at the same time practicing his cello and writ-
ing some of his first chamber works. At the age of thirty-one, he became a full profes-
sor of chemistry at the Medico-Surgical Academy in St. Petersburg. His professional
life was spent there investigating the products of the condensation of the aldehydes of
valerian, enantol, and vinegar. But he led a second life as well, one that was en-
thusiastically supported by a group of Russian nationalist musicians including
Balakirev and Mussorgsky. Partly with their encouragement and support he began
writing music in the larger forms, producing ultimately three symphonies, two string
quartets and other chamber music, piano pieces, songs, and several stage works.
Prince Igor was intended to be his masterpiece; though he spent eighteen years of
part-time work on the score, it was not quite finished when he died, and only through
the contributions of Rimsky-Korsakov and Glazunov was it finally brought to perform-
ance. The opera has had a mixed success over the years, largely because Borodin
insisted on writing his own libretto and started the composing before even clarifying
some of the lines of the plot. The result is a colorful opera that now seems somewhat
disjointed and that is heard outside of Russia only in occasional revivals. When it is
heard, however, the extended ballet sequence known as the “Polovtsian Dances”
never fails to steal the show. This was designed as a series of entertainments for
Prince Igor to pass the time while he is held captive in the camp of the great Khan.
The dances are performed, in the opera house, with choruses alternating between the
seductions of the slave girls and the vigorous praise of the great Khan himself. In
most concert performances (as here), the chorus is simply omitted, for Borodin’s
brilliantly colorful orchestration provides a barbaric splendor which, allied with the
enchanting melodic grace (rifled by Robert Wright and George Forrest for some hit
songs in their musical Kismet), has made the Polovtsian Dances an ever-popular
orchestral showpiece.
The largest orchestral score ever composed by Maurice Ravel (1875-1937) was his
ballet Daphnis and Chloe, composed for Diaghilev’s Russian Ballet and premiered in
June 1912. The story is drawn from a popular romance of classical Greek prose by a
little-known author named Longus, depicting the growing love of two innocent found-
lings, Daphnis and Chloe, and the vicissitudes that threaten to keep them apart.
After the ballet’s production, Ravel authorized the performance of two suites from the
full work. The second of these comprises the final scene and remains perhaps Ravel’s
single most popular large-scale orchestral work. There are three main sections:
“Dawn,” filled with bird song in the flute and representing Daphnis’s sad awakening,
since he does not yet know that Chloe has been rescued by the god Pan from the pi-
rates who captured her in the preceding scene; “Pantomime,” in which Daphnis and
Chloe mime the story of Pan and Syrinx, which is, to an extent, a reflection of their
own story; and the “General Dance” of joy that brings the proceedings to their excit-
ing conclusion.
Even when the films were “silent,” they were never performed without an accom-
panying musical score to reflect the moods captured in the visual images and the
drama unfolding on the screen. When the “talkies” came in, music became even
more important to the films, because it could now be carefully coordinated for a close
match in sound and image. Composers like Shostakovitch, Prokofiev, Honegger,
Vaughan Williams, Walton, and Copland wrote occasional film scores, while others
like the Vienna-born opera composer Erich Wolfgang Korngold and the American
Bernard Herrmann became more or less specialized composers for the films (though
both wrote music for concert use as well). John Williams (b.1932) follows closely in
this tradition, composing many film scores as well as concertos and other music for
concert use. He has expressed his indebtedness to the earlier masters of the film art
such as Korngold and Herrmann both in words and in the evident influence that their
art has had on his own. For a time in the 1960s and 1970s, film scoring in its classic
sense was replaced by soundtracks compiled from hit songs superimposed on the
image. It appeared as if the nearly operatic orchestral scores of the past were as dead
as the dinosaurs. The extraordinary success of Star Wars changed all that, for the
film’s musical score was fully in the tradition of Komgold’s Robin Hood , and it brought
many people to realize for the first time the variety and delights that a symphony
orchestra can offer. In the last decade or so, John Williams has become one of the
preeminent creators of orchestral scores for the film. Many of the selections have
been arranged and performed in concert as well. “Adventures on Earth” is a suite
summarizing in music the story of the charming extra-terrestrial, E.T. “Yoda’s Theme”
introduces the mellow wisdom of the experienced trainer of Jedi knights in The Empire
Strikes Back, and, of course, the main title of Star Wars (itself an homage to
Korngold’s main title for King's Row) started it all.
Pyotr Ilyich Tchaikovsky’s concert overture with the official title “ The Year 1812 ”
was composed in 1880 and first performed in Moscow on 20 August 1882. The central
event of the year 1812 for any Russian, of course, was Napoleon’s discomfiture at
Moscow and his humiliating and devastating march back to western Europe. Tchai-
kovsky composed this musical tribute to the Russian victory essentially as a pot-
boiler, aimed at popular success, and in that he was not mistaken. The quotation of
familiar tunes (at least familiar to his Russian audience) guaranteed a patriotic re-
sponse. The overture opens with the hymn uGod preserve the Tsar”; the battle itself
rages between La Marseillaise, representing Napoleon’s army, and the “Russian”
music that gradually overwhelms it. The victory achieved in this musical battle, cele-
brated by the Russian Imperial anthem reinforced by bells and cannon, has made the
overture a popular showpiece from its very first performance and a traditional conclu-
sion to “Tanglewood on Parade.”
— Steven Ledbetter
Artists
Seiji Ozawa is Music Director of the Boston Symphony Orchestra.
John Williams is Conductor of the Boston Pops Orchestra.
Leon Fleisher is Artistic Director of the Tanglewood Music Center.
SEIJI OZAWA ■ CLAUDIO ABBADO ■
LEONARD BERNSTEIN ■ CHARLES DUTOIT ■
ZUBIN MEHTA ■ MICHAEL TILSON THOMAS -
CHRISTOPH VON DOHNANYI ■ PHYLLIS CURTIN ■
SHERRILL MILNES ■ LEONTYNE PRICE-
SHIRLEY VERRETT ■ BURT BACHARACH ■
JACOB DRUCKMAN ■ DAVID DEL TREDICI ■
OLIVER KNUSSEN-
What do these names have in common, along with
hundreds of musicians who perform in
America 's major symphony orchestras ?
Tanglewod
Music
Center
All are distinguished alumni of a unique
program founded in 1940 as the
fulfillment of Serge Koussevitzky’s vision
of the ideal musical community Today,
the Tanglewood Music Center continues
to be the nation's preeminent academy
for advanced musical study and
performance. Maintained and financed
by the Boston Symphony Orchestra, the
Tanglewood Music Center offers
exceptional young instrumentalists,
singers, composers, and conductors a
comprehensive and exhilarating
eight-week program of musical training,
under the direction of the world’s
greatest concert artists.
Since admission to the TMC is based
solely on musical ability rather than the
ability to pay, the Center operates each
year at a substantial loss to the BSO,
We need your support. Please contribute
to the Tanglewood Music Center When
you do, you contribute to the future of
music itself.
Please make checks payable to the
Tanglewood Music Center and mail to
the Friends Office, Tanglewood, Lenox
MA 01240 For further information,
please contact John Keenum in the
Friends Office at Tanglewood, or call
(413)637-1600
Tanglewood Music Center 1986 Fellowship Program
Violins
Julia Baumgartel, White Rock, British Columbia
Gerald Gelbloom Memorial Fellowship
Karen Bentley, Palo Alto, California
Luke B. Hancock Foundation Fellowship
Margaret Bichteler, Austin, Texas
Harriet B. Harris Memorial Fellowship
Dionisia Fernandez, Upper Saddle River,
New Jersey
Leonard Bernstein Fellowship
Lydia Forbes, Cambridge, Massachusetts
Frederic and Juliette Brandi Fellowship
Annamae Goldstein, Blauvelt, New York
Philip and Bernice Krupp Fellowship
Ling Ling Guan, Beijing, China
Jane and William Ryan Fellowship &
Idah L. Salzman Fellowship
Helena Hagglund, Vasteras, Sweden
Jenifer House Fellowship
Kathy Haid, Union, New Jersey
Geraldine R. Dodge Foundation Fellowship
Maile Kali, Tucson, Arizona
Leo Panasevich Fellowship
Soo-Yeon Kim, Seoul, Korea
Boris A. and Katherine E . Jackson Fellowship
Mari Kimura, Tokyo, Japan
Brookline Youth Concerts Awards Committee
Fellowship
Katie Lansdale, Bethesda, Maryland
Country Curtains Fellowship
Steve Miller, New York, New York
Morris A. Schapiro Fellowship
Jennifer Moreau, Christchurch, New Zealand
Stanley Chappie Fellowship
Sara Parkins, San Francisco, California
Northern California Fund Fellowship
Zhou Qian, Hang Zhou, China
Bradley Fellowship
Adriana Rosin, Bucharest, Romania
Haskell R. and Ina Gordon Fellowship
Andrew Schast, Philadelphia, Pennsylvania
Edward John Noble Foundation Fellowship
Mari Sone, Tokyo, Japan
C.D. Jackson Fellowship
Elizabeth Suh, Overland Park, Kansas
Carole K. Newman Shared Fellowship &
Sigma Alpha lota Philanthropies Inc.
Fellowship
Marta Szlubowska, Warsaw, Poland
Alice Kandell Fellowship
Megumi Teshima, Saitama, Japan
Lucy Lowell Fellowship
James Tsao, Culver City, California
Boston Symphony Orchestra Fellowship
EtsukoTsuchida, Tokyo, Japan
Tanglewood Association Fellowship
Bing Wang, Shanghai, China
Dorothy and Montgomery Crane Fellowship
Caroline Wolff, New York, New York
Surdna Foundation Fellowship
ArieYaacobi, Hadar, Israel
Koussevitzky Music Foundation Fellowship
in memory of Margaret Grant
Violas
Davoren Chick, Acton, Massachusetts
General Cinema Corporation Fellowship
Mercedes Leon, New York, New York
Anonymous Fellowship
Rifat Qureshi, Don Mills, Ontario
Marion Callanan Memorial Fellowship
Ernest Richardson, Phoenix, Arizona
Berkshire County Savings Bank Fellowship &
Florence and Leonard Kandell Fellowship
Jenny Ries, Kensington, Maryland
Israel Kalish Memorial Fellowship
Lynn Rilling, Salt Lake City, Utah
General Electric Plastics Fellowship
David Rubinstein, Lansdale, Pennsylvania
Claire and Millard Pryor Fellowship
Karen Sanders, San Diego, California
Stephen and Persis Morris Fellowship
Anna Schaum, Atlanta, Georgia
Mr. and Mrs. Robert E. Remis Fellowship
Katrina Smith, Chesterton, Indiana
James A. Macdonald Foundation Fellowship
Tomoko Suzuki, Toyko, Japan
Harry and Mildred Remis Fellowship
Tmng LeTrinh, Houston, Texas
Albert L. and Elizabeth P. Nickerson Fellowship
Cellos
Bryndis Baldursson, Kentville, Nova Scotia
Leo L. Beranek Fellowship
Matthew Barley, London, England
Leonard Bernstein Fellowship
Andres Diaz, Santiago, Chile
Omar Del Carlo Tanglewood Fellowship
Rachel Gruber, Cleveland Heights, Ohio
Naomi and Philip Kruvant Fellowship
Trevor Handy, Belmont, Massachusetts
Baybanks Fellowship
Katja Linfield, Stony Brook, New York
Dr. Marshall N . Fulton Memorial Fellowship
Karl Parens, Wynnewood, Pennsylvania
Mr. and Mrs. Thomas H .P. Whitney Fellowship
Andreas Sami, Fuellinsdorf, Switzerland
Mr. and Mrs. David B. Arnold, Jr. Fellowship
Emma Schaling, Newton Centre, Massachusetts
C.D. Jackson Fellowship
Steven Sigurdson, Western Springs, Illinois
Juliet Esselborn Geier Memorial Fellowship
Michael Stirling, London, England
British Broadcasting Corporation Fellowship
Samuel Swift, Lansing, Michigan
Ruth S. Morse Fellowship
Owen Young, Pittsburgh, Pennsylvania
Joseph and Lillian Miller Fellowship
Basses
Jerome Butler, Sarasota, Florida
Hodgkinson Fellowship
Aldo Fabrizi, Norwood, Massachusetts
Berkshire Life Insurance Co. and Hilton Inn
Fellowship
Janne Johansson, Gothenberg, Sweden
Lia and William Poorvu Fellowship
Keith Kawazoe, Soquel, California
Koussevitzky Music Foundation Fellowship
Jennifer Matteson, Canton, New York
Cecil S. Mapes Memorial Fellowship &
Dr. and Mrs. Alexander B. Russell Fellowship
Henry Peyrebrune, Delmar, New York
Harry and Mildred Remis Fellowship
Guy Tyler, Burlington, Massachusetts
Alfred E. Chase Fellowship
Flutes
Joanna Bassett, Ann Arbor, Michigan
The Dillon Fund Fellowship
Jacqueline DeVoe, Lansdale, Pennsylvania
Frederick W. Richmond Foundation
Fellowship
Adam Kuenzel, Charleston, South Carolina
Irma Fisher Mann Fellowship
Amy Porter, Wilmington, Delaware
Miriam Ann Kenner Memorial Fellowship
Mark Sparks, San Antonio, Texas
Rosamond Sturgis Brooks Memorial
Fellowship
Oboes
Elizabeth Baker Stoyanovich, Ann Arbor,
Michigan
Augustus Thorndike Fellowship
Jonathan Blumenfeld, Philadelphia,
Pennsylvania
Brownie and Gil Cohen Fellowship
Eric Olson, Pennington, New Jersey
Fernand Gillet Memorial Fellowship
Jane Rhoads, Winter Park, Florida
Anna Gray Sweeney Noe Fellowship
Alexa Zirbel, Janesville, Wisconsin
Katherine H. Metcalf Fellowship &
Mr. and Mrs. Kenneth Warner P fie ger
Memorial Fellowship
Clarinets
Virginia Lee Carroll, Greenwood, Mississippi
Julius and Eleanor Kass Fellowship
Todd Palmer, Hagerstown, Maryland
Herbert and Jeanine Coyne Fellowship
Larry Passin, Fort Wayne, Indiana
The Clowes Fund Fellowship
Duncan Prescott, Reading, England
English Speaking Union Fellowship
Michael Rusinek, Thornhill, Ontario
J.P and Mary Barger Fellowship
Bassoons
Eric Beselin, Stockholm, Sweden
Sara Ann Leinbach and Lilian Norton
Fellowship
Silvia Coricelli, New York, New York
Olivetti Foundation Fellowship
Jon Gaarder, Madison, Wisconsin
Charles and Sara Goldberg Charitable Trust
Fellowship
Timothy McGovern, Newark, Delaware
Robert G. McClellan, Jr. and IBM Matching
Grant Fellowship
Patricia Paulson, Boise, Idaho
Archie Peace Memorial Fellowship
Homs
Tod Bowermaster, Ottawa, Illinois
Betty 0. and Richard S. Burdick Fellowship
Robert Danforth, Grand Rapids, Michigan
David R. and Muriel K. Pokross Fellowship
Linda DeRoche, Rehobeth, Massachusetts
Theodore Edson Parker Foundation Fellowship
Daniel Schulze, New Canaan, Connecticut
Frelinghuysen Foundation Fellowship
Ellen Tomasiewicz, New York, New York
Surdna Foundation Fellowship
William Ver Meulen, Lake Forest, Illinois
Karl Burak Memorial Fellowship
Trumpets
Anthony DiLorenzo, Stoughton, Massachusetts
Armando A. Ghitalla Fellowship
Patrick Kunkee, Goleta, California
Empire Brass Fellowship
Wesley Nance, Lakewood, California
Robert and Sally King Fellowship
Brian Rood, Ann Arbor, Michigan
Caroline Grosvenor Congdon Memorial
Fellowship
Mary Weber, St. Louis, Missouri
Leonard Bernstein Fellowship
Trombones
Ron Carrera, Sacramento, California
Dynatech Fellowship
Scott McElroy, Ann Arbor, Michigan
Arthur Fiedler! Leo Wasserman Fellowship
Harold Van Schaik, Dallas, Texas
Esther Engel Salzman Fellowship &
Frieda and Samuel Strassler Fellowship
Michael Zion, Newark, Ohio
Daphne Brooks Prout Fellowship
Tuba
Jeffrey Jarvis, East Lansing, Michigan
Boston Showcase Co. Fellowship
Percussion
Timothy Adams, Covington, Georgia
Nat Cole Memorial Fellowship
David Hall, Concord, Massachusetts
Red Lion Inn Fellowship
John Jutsum, Astoria, New York
Stuart Haupt Fellowship
Alan Megna, Pottsville, Pennsylvania
Anonymous Fellowship
Robert Patterson, Perkinsville, Vermont
Abby and Joe Nathan Fellowship
Scott Stirling, Pittsburgh, Pennsylvania
Donald Bellamy Sinclair Memorial Fellowship
Harps
Mia Axon, Ann Arbor, Michigan
John and Susanne Grandin Fellowship
Alice Harlow, Garden City, Michigan
Kathleen Hall Banks Fellowship
Keyboard
Carol Archer, Shaker Heights, Ohio
The Hon. and Mrs. Peter LB. Lavan Fellowship
Kevin Kenner, Coronado, California
Mr. and Mrs. Vincent J. Lesunailis Fellowship
Benjamin Loeb, Dallas, Texas
William F. Rubush Memorial Fellowship
Erika Nickrenz, New York, New York
Peggy Rockefeller Fellowship
Saiko Sasaki, Saitama, Japan
Felicia Montealegre Bernstein Fellowship
Daniel Shapiro, Corono del Mar, California
R. Amory Thorndike Fellowship
Michal Tal, Tel Aviv, Israel
Mr. and Mrs. Edwin A. Jaffe Fellowship
Conductors
Mark Gibson, Minneapolis, Minnesota
Leonard Bernstein Fellowship
Richard Hoenich, Montreal, Quebec
H. Eugene and Ruth Jones Fellowship
Romely Pfund, Dessau, East Germany
Seiji Ozawa Fellowship
Richard Westerfield, Pound Ridge, New York
The William and Mary Greve Foundation
Fellowship
Vocal Fellows
Drew Abbott, Marietta, Georgia
WCRB Fellowship in honor of Sarah Caldwell
Amy Clark Aliapoulios, Jamaica Plain,
Massachusetts
Bessie Pappas Fellowship
Lila Ammons, Worthington, Ohio
Leonard Bernstein Fellowship
Dennis Bender, Ontario, Canada
Alice Tully Fellowship
Salvatore Champagne, New York, New York
Tappan Dixey Memorial Fellowship
Alicia Cordell, Tucson, Arizona
Francis and Caryn Powers Fellowship
William Cotten, Brookline, Massachusetts
Seven Hills Fellowship
Walter Dixon, Culver City, California
Mrs. Harris Fahnestock Fellowship &
National Federation of Music Clubs Fellowship
honoring Ada Holding Miller
Anne DeVries Richardson, Phoenix, Arizona
Mildred H. Leinbach Fellowsh ip
Roger Saylor, New York, New York
Hannah and Raymond Schneider Fellowsh ip
Darnelle Scarbrough, Dorchester, Massachusetts
Harry Stedman Fellowship
Allison Swenson, Santa Rosa, California
C.D. Jackson Fellowship
Vocal Coaches
Michael Beattie, Waltham, Massachusetts
Lilian and Lester Radio Fellowship &
Hugh Cecil Sangster Memorial Fellowship
Thomas Dewey, Sellersburg, Indiana
Stokes Fellowship
Kenneth Grigg, Winston-Salem, North Carolina
Baldwin Piano and Organ Co. Fellowship
Jeffry Johnson, Kansas City, Missouri
Marie Gillet Fellowship
Margaret Kampmeier, Rochester, New York
Miriam E. Silcox Fellowsh ip
Composers
Jeffrey Bitzer, New York, New York
Reader's Digest Fellowship
Dana Brayton, Jamaica Plain, Massachusetts
Margaret T. and Bruce R. Gelin Fellowship
Marti Epstein, Allston, Massachusetts
Judith and Stewart Colton Fellowship &
Claudette Sorel/Mu Phi Epsilon Fellowship
Michael Gandolfi, Melrose, Massachusetts
Margaret Lee Crofts Fellowship
Detlev Glanert, Aumuhle, West Germany
Boston Symphony Orchestra Fellowship
Harue Kunieda, Tokyo, Japan
Tanglewood Association Fellowship
Param Vir, Delhi, India
Margaret Lee Crofts Fellowship
Andrew Vores, Hants, England
Koussevitzky Music Foundation Fellowship
Jay Yim, Cambridge, Massachusetts
Aaron and Abby Schroeder Fellowship
Chamber Ensemble Residency
Cassatt Quartet, New York, New York
Laurajean Goldberg, violin
Edward John Noble Foundation Fellowship
Adela Pena, violin
Helene R. and Norman Cahners Fellowship
Eufrosina Raileanu, viola
C.D. Jackson Fellowship
Anna Cholakian, cello
Charles E. Culpeper Foundation Fellowship
Other Participants
Seminar for Conductors
Justin Brown, Haywards Heath, England
Leonard Bernstein Scholarship
Inge Fabricius, Copenhagen, Denmark
Edward //. Michaelson Scholarship
Arthur Post, New York, New York
William and Mary Greve Foundation
Scholarship
Wing Sie Yip, Kowloon, Hong Kong
Koussevitzky Memorial Scholarship
Phyllis Curtin Seminar for Singers
Anne McMillan, Forest Hills, New York
Mead Specialty Paper Scholarship
Teri Medley, Fairfax, Virginia
William E. Crofut Family Scholarship
Anna Moser, Stockdorf, West Germany
Barbara Lee! Raymond Lee Foundation
Scholarship
Barbara Nunes, West Warwick, Rhode Island
Anonymous Scholarship
James Ruff, San Diego, California
Mr. and Mrs. James S. Deely Scholarship
Johanna Thompson, Houston, Texas
Mr. and Mrs. Macy Rogovin Scholarship
Boston University Tanglewood Institute
Young Artists Orchestra
Boston University Tanglewood Institute Young Artists Orchestra
Eiji Oue, Conductor
Violins
Sarah Abramowicz
Nina Basescu
Jean Bennett
Sabrina Berger
Cassandra Cherry
Frederic D’Ursel
Helena Edelson
Allan Engstrom
Natasha Ensign
Scott Facher
Lillian Gerard
Anna Gravenhorst
Charles Gunsaullus
Alicia Huang
Sonia Jun
Kerry Kee
Roksana Kaczmarek
Kristine Kolbinger
Laura Lambert
Rebecca MacKinnon
Elizabeth Monroe
Cynthia Moon
Margaret O’Connell
Trevor Orthman
Amy Oshiro
Shelly Rich
Gabrielle Robinson
Fred Ripley
Monisha Seth
Emma Shook
Katrin St. Clair
Kim Toro
Gigi Turgeon
Derek Wallach
Jeremy Williams
Gabriel Wilson
Violas
Barbara Blank
Catherine Conroy
Joan DerHovsepian
Kirsten Docter
Tracey Farrell
Kit Heller
David Huff
Raea Leinster
Young Park
Gil Penchina
Jane Perera
Aimee Picchi
Erika Sevetson
Kristin van Kirk
Russell Wright
Michael Sylvester
Cellos
Allen Alexander
Laurie Arnold
Michelle Beauchesne
Paul Fleury
Kirstin Kessler
Sonna Kim
John Landefeld
Jason McComb
Timothy O’Malley
Christopher Rankin
Aron Rider
Christopher Schnell
Dina Shek
Warren Wu
Basses
Christopher Clark
Earl Fay
Tracy Rowell
Marc Schmied
Gilbert Trout
Jeffrey Weisner
Flutes
Laura Barron
Heidi Julien
Shannon Waddle
Reva Youngstein
Oboes
Andrew Adelson
Barbara Bishop
Douglas Drachman
Peter Smith
Clarinets
Michelle Doyle
Gregory Mallek
Patrick Leyden
Chris Schubert
Bassoons
Peter Mandell
Julia Rusling
Daniel Shelly
Steven Vac chi
Horns
Ruben Capriles
Eugene Kierman
Andrew Halberstadt
Steven Replogle
Derek Ross
Trumpets
Sarah Lester
Marlon Jordan
Jacob Sloane
Sean Walsh
Trombones
Daniel Balsam
Joel Borrelli
Kevin Roberts
Tuba
Matthew Gaunt
Percussion
James Boznos
Gerald Dowd
Michael Garasi
Richard Graber
Tom Sessa
Harp
Hank Whitmire
Orchestra Manager
Asadour Santourian
Assistant Orchestra
Manager
Philip Mafia
Orchestra Librarian
Kathleen Osborne
Stage Manager
Thomas Vignieri
Boston Symphony Orchestra 1985-86
Boston Symphony Orchestra
Seiji Ozawa, Music Director
Music Directorship endowed, by John Moors Cabot
First Violins
Malcolm Lowe
Concertmaster
Charles Munch chair
Max Hobart
Acting Associate Concertmaster
Helen Horner McIntyre chair
Cecylia Arzewski
Acting Assistant Concertmaster
Robert L. Beal, and
Enid and Bruce A. Beal chair
Bo Youp Hwang
Edward and Bertha C. Rose chair
Max Winder
John and Dorothy Wilson chair
Harry Dickson
Forrest Foster Collier chair
Gottfried Wilfinger
Fredy Ostrovsky
Dorothy Q. and David B. Arnold, Jr.,
chair, fully funded in perpetuity
Leo Panasevich
Carolyn and George Rowland chair
Sheldon Rotenberg
Muriel C. Kasdon and
Marjorie C. Paley chair
Alfred Schneider
Raymond Sird
Ikuko Mizuno
Amnon Levy
Second Violins
Marylou Speaker Churchill
Fahnestock chair
Vyacheslav Uritsky
Charlotte and Irving W. Rabb chair
Ronald Knudsen
Joseph McGauley
Leonard Moss
^Michael Vitale
* Harvey Seigel
*Jerome Rosen
*Sheila Fiekowsky
fGerald Elias
Ronan Lefkowitz
*Nancy Bracken
*Jennie Shames
*Aza Raykhtsaum
* Lucia Lin
§Julius Schulman
§Joseph Conte
Violas
Burton Fine
Charles S. Dana chair
Patricia McCarty
Anne Stoneman chair,
fully funded in perpetuity
Ronald Wilkison
Robert Barnes
Jerome Lipson
Bernard Kadinoff
Joseph Pietropaolo
Michael Zaretsky
Marc Jeanneret
Betty Benthin
*Mark Ludwig
* Roberto Diaz
Cellos
Jules Eskin
Philip R. Allen chair
Martha Babcock
Vernon and Marion A Iden
chair
Mischa Nieland
Esther S. and Joseph M.
Shapiro chair
Joel Moerschel
Sandra and David Bakalar
chair
* Robert Ripley
Luis I^eguia
Robert Bradford Newman chair
Carol Procter
Ronald Feldman
*Jerome Patterson
*Jonathan Miller
*Sato Knudsen
Basses
Edwin Barker
Harold D. Hodgkinson chair
Lawrence Wolfe
Maria Stata chair,
fully funded in perpetuity
Joseph Hearne
Bela Wurtzler
Leslie Martin
John Salkowski
John Barwicki
* Robert Olson
*James Orleans
* Participating in a system of rotated
seating within each string section
%0n sabbatical leave
§ Substituting , Tanglewood 1986
Flutes
Doriot Anthony Dwyer
Waller Piston chair
Fenwick Smith
Myra and Robert Kraft chair
I^eone Buyse
Piccolo
Lois Schaefer
Evelyn and C. Charles Marran
chair
Oboes
Ralph Gomberg
Mildred B. Remis chair
Wayne Rapier
Alfred Genovese
English Horn
Laurence Thorstenberg
Phyllis Knight Beraneh chair,
fully funded in perpetuity
Clarinets
Harold Wright
Ann S.M. Banks chair
Thomas Martin
Peter Hadcock
E-flat Clarinet
Bass Clarinet
Craig Nordstrom
Bassoons
Sherman Walt
Edward A. Taft chair
fRoland Small
§ Donald Bravo
Matthew Ruggiero
Contrabassoon
Richard Plaster
Horns
Charles Kavalovski
Helen Sagoff Slosberg chair
Richard Sebring
Daniel Katzen
Jay Wadenpfuhl
Richard Mackey
Jonathan Menkis
Trumpets
Charles Schlueter
Roger Lours Voisin chair
Andre Come
Ford H. Cooper chair
Charles Daval
Peter Chapman
Trombones
Ronald Barron
J.P. and Mary B. Barger chair,
fully funded in perpetuity
Norman Bolter
Ba ss Trombone
Douglas Yeo
Tuba
Chester Schmitz
Margaret and William C.
Rousseau chair
Timpani
Everett Firth
Sylvia Shippen Wells chair
Percussion
Charles Smith
Peter and Anne Brooke chair
Arthur Press
Assistant Timpanist
Thomas Gauger
Frank Epstein
Harp
Ann Hobson Pilot
Willomi Henderson Sinclair
chair
Personnel Managers
William Moyer
Harry Shapiro
Librarians
Marshall Burlingame
William Shisler
James Harper
Stage Manager
Position endowed by
Angelica Lloyd Clagett
Alfred Robison
Stage Assistant
Harold Harris
Tanglewood Music Center
National Committee-in-Formation (August 1986)
Co-Chairmen
Mr. Peter M. Flanigan
Mr. David Rockefeller, Jr.
Tanglew®d
Music
Center
Dr. Michael von Clemm
Mrs. Nat Cole
Mrs. A. Werk Cook
Mr. William M. Crozier, Jr.
Mrs. Harris Fahnestock
Mrs. John H. Fitzpatrick
Mr. Peter H.B. Frelinghuysen
Mr. Gordon P. Getty
Mr. Alan J. Hirschfield
Mrs. Marilyn B. Hoffman
Mr. H. Eugene Jones
Mr. Gilbert Kaplan
Mrs. Walter F. Mondale
Mr. Andrall E. Pearson
Mr. Thomas D. Perry, Jr.
Mrs. Daphne Brooks Prout
Mr. Millard H. Pryor, Jr.
Mrs. Peter van S. Rice
Mrs. William H. Ryan
Mr. John Hoyt Stookey
Mr. William F. Thompson
Honorary Committee
Maurice Abravanel
Leonard Bernstein
Aaron Copland
Seiji Ozawa
Leontyne Price
Additional Acknowledgments
The TANGLEWOOD MUSIC CENTER acknowledges with gratitude the following
significant gifts, made during the 1986 session by
Frank Stanley Beveridge Foundation
Fribourg Foundation
Mr. and Mrs. Salim B. Lewis
Dr. and Mrs. William Pounds
Contributors to the Herbert Prashker Memorial Fund
Avedis Zildjian Company
The TANGLEWOOD MUSIC CENTER is also supported in part through a generous
grant from the National Endowment for the Arts in Washington, D.C., a Federal
agency created by Act of Congress in 1965.
The TANGLEWOOD MUSIC CENTER acknowledges with gratitude the generosity of
Acoustic Research and David H after Co., who provided recording equipment for the
1986 session.
Tanglew®d
Music
Center
The TANGLEWOOD MUSIC CENTER is maintained
for advanced study in music and sponsored by the
BOSTON SYMPHONY ORCHESTRA.
BOSTON SYMPHONY ORCHESTRA
Seiji Ozawa, Music Director
Daniel R. Gustin, Acting General Manager
TANGLEWOOD MUSIC CENTER
Leon Fleisher, Artistic Director
Richard Ortner, Administrator
Gilbert Kalish, Chairman of the Faculty
New Endowment Funds
Additions to existing funds
For support of the instructional
& performance program:
The Honorable & Mrs. John H. Fitzpatrick
The Louis Krasner Fund
Mrs. A. Werk Cook
Peter H. B. Frelinghuysen
Edward Shufro Fund
William and Juliana Thompson
Carl A. Weyerhaeuser 1966 Trust
Surdna Foundation Master Teacher Fund
Anonymous (2)
Guarantor Fellowships
Alfred E. Chase Foundation
Mrs. Maria Cole
Mrs. Lester S. Morse
Mr. & Mrs. David R Pokross
Theodore Edson Parker Foundation
Thorndike Family
Contributions to the General Endowment
Frank Stanley Beveridge Foundation
Eleanor Naylor Dana Charitable Trust
Gordon P. Getty
Gilbert Kaplan
Mr. & Mrs. Philip Krupp
Anonymous
BayBanks
Leonard Bernstein
Clowes Fund
Charles E. Culpeper Foundation
Dr. John H. Knowles Memorial
Fernand Gillet Memorial
Marie Gillet
Reader's Digest
Seiji Ozawa
Albert and Elizabeth Nickerson
Peggy Rockefeller
Morris A. Schapiro
Fellowships
Mrs. R. E. Lee
Estate of Harry Shulman
Mary H. Smith
John H. Stookey
Anonymous (2)
We gratefully acknowledge these generous gifts to
the endowment of the Tanglewood Music Center,
which allow us to continue to bring the best young
musicians to Tanglewood and to offer them tuition-
free Fellowships.
Frederic and Juliette Brandi
Brookline Youth Concerts Awards Committee
Marion Callanan Memorial
Rosamond Sturgis Brooks
Tappan Dixey Memorial
Haskell and Ina Gordon
Philip and Bernice Krupp
Robert McClellan/IBM Matching
William and Lia Poorvu
Scholarships
5 1
William E. Crofut Family
Claire and Millard Pryor
David Rockefeller, Jr
Peter M. Flanigan
Co-Chairmen
C A M P A I G N
References
furnished on
request ^
Aspen Music Festival
Burt Bacharach
David Bar-lllan
Leonard Bernstein
Bolcom and Morris
Jorge Bolet
Boston Pops Orchestra
Boston Symphony Orchestra
Brevard Music Center
Dave Brubeck
David Buechner
Chicago Symphony Orchestra
Cincinnati May Festival
Cincinnati Symphony Orchestra
Aaron Copland
Denver Symphony Orchestra
Ferrante and Teicher
Natalie Hinderas
Interlochen Arts Academy and
National Music Camp
Billy Joel
Gilbert Kalish
Ruth Laredo
Liberace
Panayis Lyras
Marian McPartland
Zubin Mehta
Metropolitan Opera
Mitchell-Ruff Duo
Seiji Ozawa
Philadelphia Orchestra
Andre Previn
Ravinia Festival
Santiago Rodriguez
George Shearing
Abbey Simon
Georg Solti
Tanglewood Music Center
Michael Tilson Thomas
Beveridge Webster
Earl Wild
John Williams
Wolf Trap Foundation for
the Performing Arts
Yehudi Wyner
Over 200 others
Baldwin®
LIU
Tanglewaxl Music Center
TANGLEWOOD ON PARADE
Tuesday, August 26, 1986
FELLOWSHIP PROGRAM VOCAL MUSIC
John Oliver, Head
Dennis Helmrich, Head Vocal Coach
2:45 P.M. Chamber Music Hall
SIX SONGS JOHANNES BRAHMS
Unbewegte laue Luft
Du sprichst, dass ich mich tauschte
Immer leiser vn'rd mein Schlummer
Meine Lieder
Nachtigall
Der Tod, das ist die ktihle Nacht
A ttcta CondM , iopnano
PhtZtp HtgkfitCZ, ptano
FIVE ITALIAN SONGS
Runqiero Leoncavallo
Stefano Donaudy
Stefano Donaudy
Francesco Paolo Tosti
Francesco Paolo Tosti
Vnew Abbott, tenon
JzU'iy Johnson, ptano
CHARLES IVES
There is a lane
The circus band
The Housatonic at Stockbridne
Ltla Ammon*, mezzo Aopnano
Kenneth. Gntgg , ptano
Mattinata
Vaghissimo sembianza
Or che le redole. . .
Ancora!
L'alba separa dal 1 a luce
1 'ombra
SIX SOHGS
Walking
Songs my. mother taught me
from "The Swimmers"
CLASSICAL SPANISH SONGS FERNANDO J. OBRADORS
La mi sola, Laureola
A1 amor
CorazGn, porqug pasSis
El majo celoso
Con amores, la mi madre
Del cabello mas sutil
Chiquitita la novia
Anne deVnie* RtchancUon, &opnano
Mango Gannett, ptano
SIX SONGS SERGEI RACHMANINOFF
The Muse
The answer
To her
"A-oo"
The lilacs
"Believe it not!"
Satvatone Champagne, tenon
Phtttp Htghfttt, ptano
Pktttp Htqh{\tlZ and Mango Gannett ane membenz> o/ the TMC faculty.
THE PERFORMERS ASK THAT THERE BE APPLAUSE ONLY AT THE END OF EACH GROUP OF SONGS.
The singers in this recital are students in the Master Classes of Phyilis
Curtin, Tanglewood Music Center Artist-in-Residence for Vocal Music.
BALDWIN PIANO
*
-2-
Or che le redole... (Nov that the green
Now that the green foliage returns,
and the flowers blossom again,
and the tempo of the interweaving dance
returns;
come on the meadow,
flower among flowers.
foliage returns...)
Come to dance the gigue or furlana
of those dressed in tarlatan.
Let me hold you for life
speak to you of love:
any other I do not desire.
In the light thrill of a turn of ecstasy
with the beloved one, so ardorous
then every other afflliction is fast forgotten;
come on the meadow,
flower among flowers.
Ancora (Again)
My thoughts wonder, finding you
in half blossom in a shady moor
of a mild new April,
you a lovely bough, a gentle garland.
My cheek, remembering you, is stirred
and pales,
they have your lips as a faint sigh.
Do you think at the lapse of time
the remembrance is exhausted,
sorrowful recollection?
L’alba separa dall luce l’orabra
The dawn separates the light from
the shadow,
and my pleasure from my desire.
0 sweet stars, it is the hour to die.
A love more divine drives you from the
sky.
0 sweet time, o hurried season,
your light will never be returning!
From the brief touch, the ideal song
flees rapidly, our beloved day.
Ah! come to me!
1 long to hold you to me.
Then, I was intoxicated from your breath!
To be able to kiss again,
a single moment,
your sweet mouth and then die...
Ardent eyes, oh you unreturning
sad stars, quench yourselves still
uncorrupted !
I should die. I do not wish to see the
day.
for love of my dream and of the night.
Close me, o night, in your maternal bosom,
while upon the pale earth, the dew descents.
But let the dawn from my blood be born,
and from my brief dream the eternal sun!
Six Songs, by Charles Ives
Walking
A big October morning, the village churchbells,
The road along the ridge, the chestnut, burr and sumach,
The hills above the bridge with autumn colors glow.
Now we strike a steady gate, walking towards the future.
Letting past and present wait, we push on in the sun.
Now hark! Something bids us pause.
But we keep on awalking, 'tis yet not noonday.
The road still calls us onward,
Today we do not choose to die or to dance,
but to live and walk.
Songs my Mother Raught He
Songs my mother taught me in the days long vanished.
Seldom from her eyelids were the teardrops banished.
Now I teach my children the same melodious measure
Often tears are flowing from my memory’s treasure.
Songs my mother taught me in days long vanished
Seldom from her eyelids were the teardrops baniched.
The Swimmers
Then, the swift plunge into the cool
green dark.
The windy waters rushing past me,
through me.
Filled with the sense of some heroic
lark.
Exulting in a vigor clean and roomy.
Swiftly I rose to meet the feline sea...
There is a Lane
There is a lane which winds towards the bay.
Passing a wood where the little children play;
There, summer evenings of days long past.
Learned I a love song, and my heart still holds it fast.
Pitting against a cold turbulent strife,
The feverish intensity of life...
OUt of the foam I lurch and rode the wave.
Swimming hand over hand, over hand against
the wind;
I felt the sea’s vain pounding, and I
grinned
Knowing I was its master, not its slave!
Translations
Six Songs, by Brahms
Umbewegte Laue Luft (Dauiner) Op. 57 no. 8*
A breeze does not stir; deep peace of nature.
Through the quiet of the garden night the fountains trickle.
But in me swells an ardent desire.
Through my veins course life and the desire to live.
Does not your breast contain ardent wishes?
Should not the call of my soul deeply resonate through yours?
Quietly, with light foot, do not hesitate hither to float.
Come, oh come, come, oh come so that we might satisfy ourselves with heavenly
pleasures.
Du sprichst, dass ich mich tauschte (Platen) Op. 32 no. 6
You say that I am deceitful,
You swecar this unceasingly.
I know that you loved me only to love more.
Your beautiful eyes burn.
Your kisses burn very much.
You loved me confess it, only you love no more.
I do not expect to have your faith again.
But only confess you did love me but love no more.
Immer Leiser Wird Mein Schlummer (Linng) Op. 105, no. 2
Ever lighter grows my slumber.
My sorrow lies like a veil trembling over me.
Often in my dream I hear you calling outside my door.
No one wakes and opens it.
I awake and weep bitterly.
I must die and another will have your kiss while I am pale and cold.
Before the May breezes waft,
Before the thrush sings in the woods.
You will see me once more.
Come, oh come soon!
Meine Lieder (Frey) Op. 106, no. 4
When my heart begins to ring and loosens the wing of song.
Flutters before me, faded bliss unforgotten and the shadows of the Cypress tree
Darkly sound my songs. Darkly sound my 'songs.
Nachtigall (Rheinhold) Op. 97, no. 1
Oh Nightingale, your sweet sounds, they penetrate through marrow and bone.
No dear bird.
What in me creates so sweet a torment, that is not yours: that is from others;
heavenly and beautiful.
Long ago, for me the tones disappeared.
But of your song there is a quiet echo.
Per Tod, das ist die Kuhle nacht (Heine) Op. 96, no. 1
Death is the cool night and Life is the sultry day.
It darkens already, I grow sleepy.
The Day has (made) me weary.
Over my bed there arches a gree.
There sings the young nightingale.
It sings only of love.
I hear it.
I hear it even in my dreams.
Five Italian Songs
Mattinata (Morning songs)
The dawn, dressed in white.
Already opens the door of the great sun
Already with rosy fingers
Caresses the multitude* of flowers
Vaghissima Semblanza (Very lovely image)
Charming portrait of a beautiful woman loved long ago.
Who has depicted you with so much life
that I look, and I speak, and I believe
that I have you before me, as in the beautiful days of love.
The dear memory
That in my heart awakes itself
So ardently that my hope is reborn
So that a kiss, a pledge, a cry of love
I ask only of her, who is silent forever.
You also put on the white dress,
and open the door to your singing.
If you don’t you will miss the light
and the appearance of love,
The Circus Band
All summer long, we boys dreamed 'bout big circus joys!
Down Main Street, comes the band. Oh! "Aint it a grand and glorious noise!
Horses are prancing, Knights advancing; Helmets gleaming.
Pennants streaming,
Cleopatra's on her throne! That golden hair is all her own.
Where is the lady all in pink? Last year
Can she have died? Can! that! rot!
She is passing but she sees me not.
The Housatonic at Stockbridge
Contented river! in thy dreamy realm.
The cloudy willow and the plumy elm:
Thou beautiful! From every dreamy hill
What eye but wanders with thee at thy
will .
Contented river! And yet overshy
To mask thy beauty from the eager eye;
Hast thou a thought to hide from field
and town?
In some deep current of the sunlit
b rown .
she waved to me I think.
Ah! there's a restive ripple, and the
swift
Red leaves, September's firstlings faster
drift ;
Wouldst thou away, dear stream? Come
whisper near!
I also of much resting have a fear:
Let me tomorrow thy companion be by fall
And shallow to the adventurous sea!
Classical Songs, by Obradors
La mi sola, Laureola...
My only Laureda, my only, only, only.
I the captive Leriano, though am very
proud
A1 Amor
Give me Love, countless kisses
Your hands in my hair
And 1000 and 100 after that
And after that 1000 and 100
To be wounded by the hand
Which is the only one in the world.
My only Laureola, my only, only, only.
And then... even more thousands!
And because no one hears it.
Let's forget the count
And we'll count backwards!
Corazon, porque pasais...
Heart, why do you lie [awake] during nights made for love?
When your lover rests in the arms of another lover?
Heart, why do you lie [awake] during nights made for love?
El Majo celoso
The majo that I love has learned a complaint
That night after night he breathes at my window....
Lindezas, I am dying of a mad and wild love
I am unable to forget you but I want to and cannot.
They told him in the square that they have seen me with a young guy.
Who is dressed in silk and a hat of velvet...
Majezas, I want you - do not belie\fe that I am dying of love for that young guy.
Con amores, la mi madre
With love I fell asleep
And thus asleep I dreamed
Of what was hidden in my heart.
That love consoled me
Del cabello mas sutil
Of the softest hair
Which you wear in braids
I shall make a chain
To draw you to my side.
Chiquitita la novia
A tiny bride,
A tiny groom,
A tiny parlor
And a bedroom.
Better than I deserved.
This love lulled me to sleep
And gave rest to my pain.
Through my faith in you and with love,
With love I fell asleep.
A jug in your house.
My darling, I would like to be.
To kiss your lips.
When you take a drink.
That's why I want
A tiny bed
And a mosquito net.
-4-
Six Songs, by Rachmaninoff
The Muse (Pushkin)
In my childhood she loved me and she gave to me a pipe with seven reeds. She
listened with a smile to me while I played feebly on the resonant hollow reeds,
majestic hymns of praise inspired by Gods and peaceful songs of shepherds. From
morning ’til evening in the silent shade of the oaks, diligently I listened to
the teachings of the goddess. And to please me with a surprise, she brushed back
the curls from her lovely forehead and took from my hand the flute. The reeds
were enlivened by her divine breath and filled my heart with holy enchantment.
The Answer (Hugo)
They asked, "How might we glide on a boat as in flight, like the white seagull
glides: on the waves?" "Row," came the answer.
They asked, "How does one forget forever the misery and poverty in a world in
which only darkness and sadness dwells?" "Sleep," came the answer.
They asked, "How might beauty attract without charms but only passion's speech,
so that one may fall In our own embrace?" "Love," came the answer.
A-oo (Balmont)
Was it a dream? Thy voice, with golden peals of laughter, it called, like shepherds’
pipes at early day. And in my songs I crowned thee ever after. Come, flee, to
mountains far away. But where are you? The echo only gives answer to my singing.
The flower is faded, and I know not why. And somewhere from the depths a mocking
voice is ringing. In vain, my quest: A-oo, A-oo, I cry.
To Her (Biely)
The grass is adorned with pearls of dew. Somewhere I hear sad greetings, lovely
greetings. Dear one, where are you? Evening’s bright lights, evening’s red lights,
arms outstretched, I wait for you. Dear one, where are you? Arms outstretched, I
wait for you. Lethe's streams wash you, Lethe’s pale streams. Dear one, where
are you?
The lilacs (Beketov)
With the morning, at dawn, on the dewy lawn, I walk with the fresh breath of
morning. There in the fragrant shade where the lilac trees grow, I will walk
searching for my happiness. In life, only one happiness my fate decrees, and this
happiness is in the lilac tree. On its green branches, in its perfumed blossoms,
there my poor happiness flowers.
Believe it not (Tolstoy)
Believe it not, when I by grief o’ertaken, sometimes complain do cease for thee to
yearn. The lonely strand be ebbing tide forsaken, will live to hail the waters’
fond return. Within my soul, I feel new joy upspringing, and lay my freedom In
the hands once more. So tardy waves their homeward message bringing. From distant
journey speed to greet the shore.
Tanglew®d Music Center
TAKGLEWOOD ON PARADE
Tuesday, August 26, 1986
FELLOWSHIP PROGRAM CHAMBER MUSIC
PAepaAed by OllveA KnuAAen, Yehudi lulyneA, PeteA SeAkln, Max HobaJit,
GllbeAt KallAh, JeAome RoAen, Ann Hobson Pilot, Eugene. LehneA, and Joel KA.o6nx.ck
3:30 P.M. Theatre
KNUSSEN FOUR LITTLE .MONSTERS
Aldo FabAl zl, Janne JohanAAon, Keith Kaivazoe, HenAy PeyAebAune, baAACA
MENDELSSOHN TRIO IN D MINOR, Opus 49
Mol to Allegro agitato
Andante con moto tranquillo
Scherzo: Leggiero e vivace
Finale: Allegro assai appassionato
Ma/vta Szlubomka, violin Matthew BaAley, cello
Kevin KenneA , piano
STRAUSS SERENADE FOR WIND INSTRUMENTS, Opus 7 (1881)
v . Jacqueline VeVoe, MaAk SpaAkA, {lute, a
Alexa llAbel, EaIc OlAon, obocA
Jon GaaAdeA, PatAlcla PaulAon, Timothy McGoveAn, baAAoonA
RobeAt Van{oAth, Vanlel Schulze, Tod BoweAmaAteA, Ellen TomaAlewlcz, hoAnA
DVORAK QUINTET IN G MAJOR, Opus 77
Allegro con fuoco
Scherzo: Allegro vivace
Poco andante
Finale: Allegro assai
Ling Ling Guan, violin Tomoko Suzuki , viola
Meguml TeAhlma , violin AndAeaA Sami, cello
Janne JohanAAon, baAA
BARTOK SONATA .FOR TWO' PIANOS AND PERCUSSION (1938)
Assai lento
Lento ma non troppo
Allegro non troppo
Kevin KenneA, Salko SaAakl, piano A
Alan M egna, Vavld Hall, peAcuAAlon
MOZART
QUINTET IN C TO OR, K. 515
Allegro
Andante
Menuetto: Allegretto
A1 legro
Caroline Wolfit,, violin
Bing Wang, violin
Jenny Riet>, viola
EtineAi RichaAcLion, viola
Katja Linfiield, cello
SAINT SAENS
Elizabeth Suh, violin
FANTAISIE, Opus 124
Ilia Axon, ha/ip
BRAHMS
Allegro
Romanze
Allegretto
Finale: Allegro
QUARTET IN C MINOR, Opus 51, no. 1
iudia ronboA, violin
Julia BaumgaAtel, violin
Rifiat QuAc&hi, viola
Michael Stoiling, cello
BEETHOVEN
Allegro
Adagio cantabile
Scherzo: Allegro
Allegro mol to quasi presto
QUARTET: IN G MAJOR, Opus 18, no. 2
Mali Sone, violin
Zhou Qian, violin
Rifiat Oun.eJ>hi, viola
Emmy Schaling , cello
BALDWIN PIANO
Tanglew<®d Music Center
TANGLEWOQD Of! PARADE
Tuesday, Auguat 26, 1986
FELLOWSHIP PROGRAM WIND MUSIC
Donald MacCouat, conductoa
6:00 P.M.
Main House Porch
MOZART SELECTIONS: FROM "COSI FAN TUTTI "
{arranged by Wendt)
SELECTIONS FROM "THE ABDUCTION FROM THE SERAGLIO"
Jane Rhoads, oboe
Elizabeth Stoc/anovlch, oboe
Michael Ruslnek, claalnet
Duncan Prescott, claalnet
SiJlvla Coadcelll , bassoon
Ealc Beselln, bassoon
William Uea Meulen, ho an
Linda DeRoche, ho an
BALDWIN
PIANO
Tanglew®d Music Center
THE CASSATT QUARTET
Laura jean Goldberg , violin
kdela Pella, violin
Eufrosina Raileanu, viola
Anna Lucia. Cholakian, cello
Saturday, Auoust 30, 1986
2:00 P.fi.
Theatre Concert Hall
MOZART
Adaoio; Allegro
Andante cantabile
Menuetto: Allegro
Allegro rnolto
QUARTET IN C MAJOR, K. 465
("Dissonant'1)
CARTOK
QUARTET NO. 2
Ho derate
Allegro mol to, capri ccioso
Lento
Intermission
BEETHOVEN QUARTET NO.
Andante con moto; Allegro vivace
Andante con moto quasi allegretto
Menuetto : Grazioso
Allegro mol to
9 in C MAJOR, Opus 59, No. 3
( "Rasoumousky")
The Friends of Mu* ic at Tanglewood, an organization o f music lover* and
patron s, generously support the operation of, the Tanglewood Music Center . Friends
are invited to all concerts of the Tanglewood Music Center with a Family Season
Membership of $60, or an Individual Season Membership of $40. Others attending
each TMC event are asked to contribute a minimum of $5.00 at the gate, $6.00 for
orchestra concerts.
The Tanglewood Music Center is also supported by a grant from the National
Endowment for the Humanities.
BALDWIN PIANO
For several years the Tanglewood Music Center had wanted to add an 'ensemble'
component to .the already existing Fellowship Program, providing, as the program
does for other young musicians, a final 'finishing' which might bridge the often
difficult gap between the end of school or conservatory training and the beginning
of professional careers. The focus of an ensemble residency would be to find an
exciting young group — a’ group already committed to life together as a permanently
constituted chamber music entity - and bring them to Tanglewood for work with the
special Faculty gathered here each summer. While here, the group would have the
opportunity to work with coaches including Eugene Lehner, Julius Levine, Louis
Krasner, Pina Carmirelli, and members of the Juilliard String Quartet, among others.
Of the several dozen groups who applied, nine travelled to New York City last
winter to audition for the Faculty, and the Cassatt Quartet emerged as the unanimous
choice for this first year of the program. The Quartet has already won several
major chamber music prizes, including the Fischoff Prize and the Coleman-Barstow
Award. They have also been selected as the graduate string quartet in residence
at the Juilliard School. We take special pride in presenting them at Tanglewood
this afternoon.
The two violinists of the Quartet share the roles of first and second violins.
For the fiozart and Bartok quartet, Auela Pe'fia performs as first violinist; for the
Beethoven quartet, Laurajean Goldberg performs the first violin part.
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIRST WEEK
YAIP
YOUNG ARTISTS INSTRUMENTAL PROGRAM
JUNE 30- JULY 6 1986
MON. JUNE 30 TUES. JULY 1
WEDNESDAY 2
9:30 am YAO
ww/brass/perc/
harps
sectional
Mr. Voisin
West Barn, TWD
9 : 30 am YAO
strinp, sectional
Mr . Oue
East Barn, TWD
11-12:15
YAO TUTTI
Mr. Oue
West Barn, TWD
1:15 pm
Perc. Ensemble
Lively Stones
1:15 pm
Bass Ensemble
Parlour, Main
House, WSC
2:00 pm
Julliard Quartet
Open
Rehearsal
CMH , TWD
3:30 pm
Brass Ensemble
Theatre, WSC
FRIDAY A
9:0^-10:00 am
strinp, sectional
Mr .Oue
10:15-11:45 am
Mr. Silverstein
East Barn, TWD
9 : 30-12 : 15 brass/
perc/harps/ww
sectional,
Mr. Voisin
West Barn, TWD
1 : 15-3 : 15 pm
Perc. Ensemble
Lively Stones
1:15-3:15 pm
Bass Ensemble
Parlour, WSC
3:30-5:30 pm
Brass Ensemble
Theatre, WSC
1:30-5:30 pm
Chamber Music
rehearsals
WSC
THURSDAY 3
9:30-12:15
YAO, Mr. Oue
West Barn, TWD
1:30-5:30 pm
Chamber Music
Rehearsals, WSC
(locations will
be posted)
SATURDAY 5
11:00 am
meeting for
YAIP, Applied
students with
BSO teachers
Shed, TWD
7 : OO pm
Chamber Music
Presentation
Mr. Ripley
Theatre, WSC
'SUNDAY 6
1 0 : OQ am
Percussion
Master Class,
Mr. Smith
Lively Stones
Juilliard Quartet
Open
Rehearsal
CMH, TWD
(time: TBA)
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIRST WEEK
YAVP
YOUNG ARTIST VOCAL PROGRAM June 30-July 6 1086
Ms. Joan Heller, Director
MONDAY TUESDAY
JUNE 30 JULY 1
WEDNESDAY 2 THURSDAY 3 FRIDAY 4
9-10 am 9-10 am
practice time, practice time,
(voice coaching) (voice coaching)
Darrow School Darrow School
9:00-10:00 am
practice time,
Darrow School
10:00-11:00
Theory A
11:00-11:30
Recitation A
10:00-11:30
Voice Class B
Darrow School
1:00-2:00 pm
Eurythmics B
East Barn, TWD
2: 00-4: no
Chorus
East Barn, TWD
10- 11 am
Theory B
11- 11:30
Recitation B
10-11:30
Voice Class A
Darrow School
1- 2 pm
Eurythmics A
East Barn, TWD
2- 4 pm
Chorus
East Barn, TWD
10-11 • 30 am
Performance Clas
Theatre, Darrow
School
1-3 pm
Chorus
East Barn, TWD
3-4 pm
Special Topics
Joseph Gifford
"Movement for
Singers"
East Barn, TWD
SATURDAY 5
SUNDAY 6
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIRST WEEK
YAQP
YOUNG ARTIST
QUARTET PROGRAM
June 30 -
July 6 1986
MON. JUNE 30
TUES. JULY 1
WEDNESDAY 2
THURSDAY 3
FRIDAY 4
9 am - 12 noon
9 am - 12 noon
9 am - 12 noon
Quartet
Quartet
Quartet rehearsals
Rehearsals ,
Rehearsals ,
Science Bldg. ,
Science Eld^ . ,
1-2:30 pm
Rooms 1, 2, 3
Rooms 1 , 2 , 3
Sectionals :
Quartet B
2 pm
1 - 2:30 pm
Same locations
Open
Sectionals :
as Thursday-
Rehearsal
Quartet A -
VT and NH
Juilliard
violins: VT
All others:
Quartet ,
vla/cello: NH;
ind ividual
CMH, TWD
All others:
practice
individual
practice
2 : 30-4 pm
Master Class
2:30-4:00 pm
Master Class
LRSH
LRSH
SATURDAY 5
SUNDAY 6
l
Open rehearsal
Juilliard Quartet
CMH , TWD
(time TBA)
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIRST WEEK
EROS
EMPIRE BRASS SEMINAR JUNE 30-JULY 6 1986
MON, JUNE 30 TUES. JULY 1 WEDNESDAY 2
THURSDAY 3
FRIDAY 4 i
9-9:30 am
9:30 am
9:00 am
warm-up
warm-up
warm-up
9:30-11:30
1°:00 am
9:30 am
Quintet
Quintet
1st quintet
rehearsals :
Dress
reading
location -
Rehearsals
rehearsals
1) Koussevitsky
(same
(same locations)
2) Stein
locations)
3) Greylock
7:00 pm
A) Kenmore
2:00 pm
Prelude Concert
5) Fenway
Quintet
Empire Brass
6) R.I.
Performance
SHED, TWD
Class
1:30-3:30 pm
Koussevitsky
Master Coachings
:
1) Koussevitsky
2) Stein
3) Greylock
3:45-5:15 pm
EBQ Open
Rehearsal
Koussevitsky
SATURDAY 5 SUNDAY 6
1:30 pm
Recital
Berkshire
Brass Quintet
Koussevitsky
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIRST WEEK
FLUTS
FLUTE SEMINAR JUNE 30-JULY 6 1986
Ms. Doriot Dwyer, Director
Ms. Leone Buyse, Assistant
MONDAY
JUNE 30
TUESDAY
JULY 1
WEDNESDAY 2
THURSDAY 3
FRIDAY 4
9:30 am- 12 noon
Seminar ,
Ms . Dwyer
Theatre, WSC
1:00-3:30
Seminar ,
Ms. Buyse
Theatre, WSC
1:00-4:00
Seminar ,
Ms. Buyse
Library, WSC
1:00-3:30
Seminar,
Ms . Buyse
LRSH
9:00 pm
13 SO
Michael Tilson
Thomas, conductor
Doriot Anthony
Dwyer, flute
Shed, TWD
SATURDAY 5
SUNDAY 6
1:30-5:30 pm
11 am - 1 pm
Seminar,
Seminar,
Ms. Dwyer
Ms . Dwyer
East Earn, TWD
Theatre, WSC
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
HARPS
FIRST WEEK
HARP SEMINAR June 30- July 6 1986
Miss Lucile Lawrence, Director
MONDAY TUESDAY
JUNE 30 JULY 1 WEDNESDAY 2 THURSDAY 3 FRIDAY 4
Lessons ,
146 Main St.
1 pm - Bloemker
2 pm - Hirt
3 pm - Morchelis
4 pm - Ponzio
Lessons ,
146 Main St.
1 pm - Ross
2 pm - Valsi
3 pm - Warren
SATURDAY 5
SUNDAY 6
BOSTON UNIVERSITY TANCLEWOOD INSTITUTE
FIRST WEEK
L&A
LISTENING AND ANALYSIS SEMINAR June 30-Julv 6 1986
Dr. Jeremy Yudkin, Director
MONDAY TUESDAY
JUNE 30 JULY 1 WEDNESDAY 2 THURSDAY 3 FRIDAY 4
10:00 am
10:00 am
10:00 am
BSO Closed
BSO Closed
BSO Closed
Rehearsal
Rehearsal
Rehearsal
(Thomas)
(Ozawa)
(Thomas)
Shed, TWD
Shed, TWD
Shed, TWD
1:30-3:30 pm
1:30-3:30 pm
1:30-3:30 pm
Seminar ,
Seminar,
Seminar ,
Mr . Yudkin
Mr. Yudkin
Mr. Yudkin
Hawthorne
Hawthorne
Hawthorne
Cottage
Cottage
Cottage
Rm . 2 , TWD
Rm. 2, TWD
Rm. 2, TWD
4:00 pm
4:00 pm
BSO Closed
BSO Closed
Rehearsal
Rehearsal
(Thomas)
(Thomas)
Shed, TWD
Shed, TWD
SATURDAY 5 SUNDAY 6
10:30 am
BSO Open
Rehearsal
(Ozawa)
Shed, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIRST WEEK
***SPECIAL EVENTS*** JUNE 30-JULY 6 1086
MON. JUNE 30 TUES , JULY 1 WEDNESDAY 2 THUHSDAY 3 FRIDAY 4
2:OQ pm
Open Rehearsal
Juilliard
Quartet
CMH, TWD
8:30 pm
Richard
Stolzman,
clarinet
Richard
Goode, piano
Theatre, TWD
ALL EVENTS AT TWD:
2:30 pm
cates open
2:40-3 pm
Les Marauders Drum
& Bugle Corps
Lawn-front of
Main House
3- 3-43 nm
The Wuz, Theatre
4- 4:45 pm
Johnston Fantastic
Symphony Steel
Orchestra, Shed
5- 5:45 pm
Orrin Star and
Friends, Theatre
6- 6:45 pn
Berkshire
Highlanders, lawn-
front of Maib
House
7- 7:45 pm
Prelude Concert
Empire Brass,
Shed
9:00 pm
BSO, Michael
Tilson Thomas,
conductor
Doriot Anthony
Dwyer, flute
Shed
SATURDAY 5
SUNDAY 6
10:00 am
Master Class for TMC
violinists ,
Joseph Silverstein
(BUTI students
invited to listen)
Theatre, TWD
10:30 am BSO
open rehearsal
(Ozawa)
Shed, TWD
8:30 pm
BSO, Michael
Tilson Thomas,
conductor
Gilbert Kalish,
piano
Malcolm Frap.er,
piano
Michael
Tilson Thomas,
piano
Shed, TWD
2:30 pm
BSO Seiji Ozawa,
conductor
Leon Fleisher,
piano
Shed, TWD
Open Rehearsal :
Juilliard Quartet
CMH, TWD
(time TBA)
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
SECOMr WEEK
YAIP
YOUNG ARTISTS INSTRUMENTAL PROGRAM JULY 7-13 1988
MON. JULY 7
TUESDAY 8
WEDNESDAY 9
THURSDAY 10
FRIDAY 11
9 : 30 am
9:30-12:15
9:30-12:15
9:30-12:15
9:30-12:15
YAO
YAO, Mr. Oue
YAO, Mr. Oue
YAO, Mr. Oue
YAO, Mr. Oue
sectionals
West Barn, TWP
West Barn, TWP
West Barn, TWP
West Barn, TW^
(locations
posted)
1:15-5:30 pm
1:15 pm
1:15-5:30 rm
1:15 pm
Chamber Music
Percussion
Chamber Music
Percussion
11-12:15 YAO
Rehearsals
Ensemble
rehearsals ,
Ensemble
TUTTI,
WSC
Lively Stones,
WSC
Lively Stones,
Mr . Oue
WSC
WSC
West Barn, TWP
1:15 pm
1:15 pm
1:15 pm
Bass Ensemble
Pass Ensemble
Percussion
Parlour, WSC
Parlour, WSC
Ensemble
Lively Stones
1:15 pm
1:15-5:30 pm
WSC
Open Theory
Chamber Music
Class-- orienta-
rehearsals ,
1:15 pm
tion meeting
WSC
Bass Ensemble
Study, WSC
Parlour, WSC
3:30 pm
3:30 pm
Brass Ensemble
2 pm
Brass Ensemble
(larpe)
Violin Master
(Quintets)
Mr. Vo is in
Class,
Stein, Grey lock
Theatre, WSC
Yuri Mazurkevich
Theatre, WSC
3:30 pm
Brass Ensemble
(Quintets)
LRSH /Grey lock
SATURDAY 12 SUNDAY 13
9:30-12:15 7:00pm
YAO, Mr. Oue Juilliard Quartet
West Earn, TWT Open rehearsal
Miss Hall's
School
*see bus
schedule for
transportation
ROSTON UNIVERSITY TANGLEWOOD INSTITUTE
SECOND WEEK
YAVP
YOUNG ARTIST VOCAL PROGRAM JULY 7 - 13 1986
Ms . Jo a n Heller, Director
MON. JULY 7
TUESDAY 8
WEDNESDAY 9
THURSDAY 10
FRIDAY 11
9-10 am
9-10 am
9-10 am
9-10 am
9-10 am
voice lessons,
voice lessons.
voice lessons,
voice lessons,
voice lessons,
practice time.
practice time,
practice time.
practice time.
practice time.
Darrow School
Darrow School
Darrow School
Darrow School
Darrow School
9: 45-10:45 am
9:45-10:45 am
9:45-10:45 am
9:45-10:45 am
10-11:30 am
Theory A,
Theory B
Theory A,
Theory B
Performance
Darrow School
Darrow School
Darrow School
Darrow School
Class ,
10:45-11:30 am
10:45-11 :30 am
10:45-11:30 am
10:45-11:30 am
Theatre, Darrow
Recitation A,
Recitation B
Recitation A,
Recitation B,
1-3 pm
Darrow School
Darrow School
Darrow School
Darrow School
Chorus ,
10-11:30 am
10-11:30 am
10-11:30 am
10-11:30 am
East Barn, TWD
Voice Class B,
Voice Class A
Voice Class B,
Voice Class A,
3-4 pm
Theatre, Darrow
Theatre, Darrow
Theatre, Darrow
Theatre, Darrow
Special Topics,
1-2 pm
1-2 pm
1-2 pm
1-2 pm
East Barn, TWD
Eurhythmies A,
Eurhythmies B,
Eurhythmies A,
Eurhythmies B,
Small Ensemble
B Small
Small Ensemble B
, Small Ensemble
A,
East Barn, TWD
Ensemble A,
East Barn, TWD
East Earn, TWD
2-4 pm
Chorus ,
East Barn, TWD
East Barn, TWD
2-4 pm
Chorus ,
East Barn, TWD
4 pm
YAVP Staff
meeting
East Barn, TWD
2-4 pra
Chorus ,
East Barn, TWD
SATURDAY 12
SUNDAY 13
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
SECOND WEEK
YACP
YOUNG ARTISTS COMPOSITION PROGRAM
DR. ROBERT SIROTA, DIRECTOR
JULY 7-13 1086
MON. JULY 7
TUESDAY 8
WEDNESDAY 9
THURSDAY 10
FRIDAY 11
9-11 am
9-10 am
1-2 : 30 pm
9-10 am
9-10 am
Lecture,
Lessons ,
Musicianship
Lessons ,
Eurhythmies ,
Norman Fischer
134 Walker St.
Class ,
134 Walker St.
Science Bldg.
Library, WSC
Jay Krasnow
Library, WSC
Philip Ruokis
Room 4
11-12 noon
10-11 am
4-5:30 pm
10-11 am
Lesson,
Philip Edwards
David Shapiro
Theory ,
V. Sirota
Emily Gitkin
134 Walker St.
1-2:30 pm
Musicianship
Class
Library, WSC
4-5:30 pm
Theory,
V. Sirota
Library, WSC
11-12 noon
Leonard Lionnet
2-3 pm
Lawrence Kctrick
4-5:30 pm
Composition
Readings ,
Library, WSC
Library, WSC
11-12 noon
Andrea Gaudette
3-4 : 30 pm
Composition
Readings
Library, WSC
SATURDAY 12 SUNDAY 13
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
SECOND WEEK
YAP I
YOUNG ARTISTS PIANO PROGRAM JULY 7-13 1986
Ms. Maria Clodes-Jaguaribe , Director
MON. JULY 7
TUESDAY 8
WEDNESDAY 9
THURSDAY 10
FRIDAY 11
8:45-9:30 am
8:45-9:30 am
9-10 am
3-5:30 pm
3-5:30 pm
Theory A,
Theory A,
Eurhythmies
Master Class
Master Class
Parlour, WSC
Study, WSC
Science Bldg.
Room 4
42 Walker St.
42 Walker St.
9:30-10:15 am
9:30-10:15 am
Theory B,
Theory B,
3-5:30 pm
Parlour, WSC
Study, WSC
Master Class
42 Walker St.
10:15-11 am
10:15-11 am
Theory C,
Theory C,
Parlour, WSC
Study, WSC
SATURDAY 12
SUNDAY 13
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
SECOND WEEK
YAOT
YOUNG ARTISTS QUARTET PROGRAM
JULY 7-13 1986
MON. JULY 7
TUESDAY 8
WEDNESDAY 9
8:45-11:45 am
8:45-11:45 am
8:45-11:45 am
Rehearsal
Rehearsal and
Rehearsal and
and coaching
coaching
coaching
Science Bldg.,
Science Bldg.,
Science Bldg. ,
Rooms 1-3
Rooms 1-3
Rooms 1-3
9:00 am:
Fischer with
Fischer with
Hawthorne
Alcott 4tet
Thoreau 4tet
Quartet
without
Fonda
Morrison with
Morrison with
Thoreau 4tet
Hawthorne 4tct
10:30 am:
Fischer with
1-2:30 pm
1-2:30 pm
Hawthorne
Quartet
Lessons with
Lessons with
Morrison; VT
Morrison; VT
1 pm-Kerry
1 pm-Lynne
Morrison
1:30 pm-Lilian
1 : 30 pm-
with Thoreau
2 pm-Wendy
Kristine
Quartet and
Alcott 4tet
Lesson with
2 pm-Gil
Fischer; NH
Lesson with
1-2* *30 pm
1 pm-Tim
Fischer, NH
Lessons with
1:30 pm-coaching
1 pm-Ben
Morrison; VT
with Fischer:
1:30 pm-coaching
1 pm-Amy
Hawthorne 4tet,
with Fischer:
1 : 30 pm-Jen
Copley
Alcott 4tet,
2 pm-Raea
Basement
Copley
2 pm - Violin
2:30-4 pm
Basement
Master Class,
Master Class,
2:30-4 pm
Yuri Mazurkevich LRSH
Master Class
Theatre, WSC
Study, WSC
THURSDAY 10 FRIDAY 11
8:45-11:45 am
Rehearsal and
coaching
Science Bldg.,
Rooms 1-3
Fischer with
Hawthorne 4tet
Morrison with
Alcott 4tet
1-2:30 pm
Lessons with
Morrison; VT
1 pm-Amy
1 : 30 pm-Jen
2 pm-Raea
1 : 30 pm-coaching
with Fischer:
Thoreau 4tet
Copley
Basement
2:30-4 pm
Master Class;
LRSH
8:30 pm
Beaux Arts Trio
Theatre, TWP
8:45-11:45 am
Rehearsal and
coaching
Science Bldg.,
Rooms 1-3
Fischer with
Alcott 4tet
Morrison with
Thoreau 4tet
1-2:30 pm
Master Class
(Dress rehearsal)
Library, WSC
PM Monterey
Arts Festival
(see bulletin
board for
transportation)
SATURDAY 12 SUNDAY 13
7:00 pm
Juilliard
Quartet Open
Rehearsal
Miss Hall’s
School
*check bus
schedule for
transportation
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
SECOND WEEK EBQS
EMPIRE BRASS SEMINAP
JULY 7-13 1986
MON. JULY 7
TUESDAY 8
WEDNESDAY 9
THURSDAY 10
FRIDAY 11
9 am
9 am - warm-up
9 am - warm-up
9 am - warm-up
9 am - warm-up
warm-up
9:30-11:30 am
9:30-11:30 am
9:30-11* *30 am
9:30- 11:30 am
9:30- 11:30 am
Brass Quintet
Brass Quintet
Brass Quintet
Quintets dress
Brass
coachings -
coachings -
coachings -
rehearsals
Quintet
locations :
locations :
locations :
SEE TUESDAY
coachings -
1) Koussevitsky
SEE TUESDAY
SEE TUESDAY
Locations :
2) Stein
1:30-3*30 pm
1) Fiedler
3) Greylock
1 : 30-3 : 30 pm
1*30-3:30 pm
Performance Class
2) Stein
4) Fenway
Large Brass
Master
Theatre, WSC
3) Greylock
5) R.I.
Ensembles
coachings
4) Kenmore
1) Koussevitsky
SEE TUESDAY
5) Fenway
1:30-3:30 pm
2) Stein
6) R.I.
Master
3:45 pm
coachings :
3:45 pm
Empire Brass
1:30-2 pm
1) Koussevitsky
Empire Brass
Open Rehearsal ,
lecture -
2) Stein
Open Rehearsal,
Koussevitsky
Alan Colin,
3) Greylock
Koussevitsky
NY Brass
4) Fiedler
Publisher,
Koussevitsky
3:45-5:15 pm
Empire Brass
2-4 pm
Open Rehearsal,
Brass Master
Koussevitsky
Class -
Vincent DiMartino,
Koussevitsky
SATURDAY 12 SUNDAY 13
1:30 pm
Recital
Berkshire
Brass Quintet
Theatre,
Darrow School
*see Bus
Schedule for
transportation
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
SECOND WEEK
FLUTS
FLUTE SEMINAR JULY 7-13 1986
Ms. Doriot Dwyer, Director
Ms. Leone Buyse, Assistant
MON. JULY 7 TUESDAY 8
WEDNESDAY 9 THURSDAY 10 FRIDAY 11
9 aiu-12 noon Free Day
Seminar,
Ms . Dwyer
Theatre, WSC
9 am- 12 noon
Seminar,
Ms . Dwyer
Theatre, WSC
1-3:30 pm
Seminar,
Ms . Buyse
Theatre, WSC
1:30-4:30 pm
Seminar ,
Ms . Dwyer
LRSH
1:30-3:30 pm
Seminar,
Ms . Buyse
LRSH
1-3:30 pm
Seminar
Ms . Dwyer
LRSH
SATURDAY 12 SUNDAY 13
2-5 pm
Seminar ,
Ms. Dwyer
East Barn, TWD
*
BOSTON UNIVERSITY TANGLEUOOD INSTITUTE
SECOND vt:ek
HARPS
HARP SEMINAR JULY 7-13 1986
Miss Lucile Lawrence, Director
MON. JULY ~ 7 TUESDAY 8 WEd¥eSDAY~9 TOURSDAY 10 FRIDAY 11
Lessons ,
146 Main St.
1 pm-Bloemker
2 pm-Hirt
3 pm-Morcheles
4 pm-Tonzio
Lessons ,
146 Main St.
1 pm-Ross
2 pm-Valsi
3 pm-Warren
Lessons ,
146 Main St.
1 pm-Bloemker
2 pm-Hirt
3 pm-Morcheles
4 pm-Ronzio
Lessons ,
1 pm-Ross
2 pm-Valsi
3 pm-Warren
146 Main St.
SATURDAY 12
SUNDAY 13
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
SECOND WEEK
***SPECIAL EVENTS*** JULY 7-13, 1986
MON. JULY 7 TUESDAY 8 WEDNESDAY 9 THURSDAY 10 FRIDAY 11
2 pm - Violin
Master Class,
Yuri Mazurkevich
Theatre, WSC
6:00 pm
In-House
Concert ,
Eiji Oue
Theatre, WSC
8:30 pm
TMCO
Seiji Ozawa &
Conducting
Fellows
Theatre, TWD
8:30 pm
Pops at
Tanplewood,
John Williams,
conductor
Shed, TWD
6:00 pm
In-House
Concert ,
Chamber Music
Theatre, WSC
8:30 pm
Beaux Arts Trio
Theatre, TWD
7:00 pm
Prelude ,
Tanplewood
Festival Chorus,
John Oliver,
conductor
Shed, TWD
9 pm - BSO
Seiji Ozawa,
conductor
Shed , TWD
SATURDAY 12 SUNDAY 13
10:35 am
10:00 am
BSO - Open
TMC Chamber Music
Rehearsal
Vocal Fellows,
(Ozawa)
Theatre, TWD
Shed, TWD
2:30 pm
6:00 pm
Recital
In-House
Leontyne Frice,
Concert
Soprano
Chamber Music
David Garvey,
Theatre, WSC
piano
Shed, TWD
8:30 pm
PSO
7:00 pm
Seiji Ozawa,
Juilliard Quartet
conductor
Open rehearsal
Shed, TWD
Miss Hall School
‘i
8:30 pm - TMC
Vocal Fellows
Recital
Chamber Music Hall
TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
THIRD WEEK YACP
YOUNG ARTISTS COMPOSITION PROGRAM July 14-20, 1^86
Dr. Robert Sirota, Director
MONT JULY 14 TUESDAY 15 WEDNESDAY 16 THURSDAY 1*7 FRIDAY 18
9-11 am
Lecture,
Steven Sacco
Library, WSC
1-2-30 pm
Musicianship
Class ,
Library, WSC
4-5:30 pm
Theory,
V. Sirota
Library, WSC
8 : 30 pm
YAO Concert I
Eiji Oue,
conductor
Theatre, TWD
9- 10 am
Lessons ,
134 Walker St . ,
Jay Krasnow_
10- Il am
David_Shapiro
11- 12 noon
Leonard _Lionnet
2-3 pm
Lawrence_He trick
4-5:30 pm
Composition
Readings ,
Library, WSC
9- 10 am
Lessons ,
134 Walker St . ,
Philip JSdwards
10- 11 am
Em±lY_Gi; tk±n_
11- 12 noon
Andrea_Gaudette
1-2:30 pm
Musicianship
Class ,
Library, WSC
4-5:30 pm
Theory,
V. Sirota
Library, WSC
BUTI Boston
Day (Session I)
Trip to Boston
University and
sightseeing
9- 10 am
Eurhythmies ,
Science Bldg.,
Room 4
10- 11 am
Lessons ,
1 34 Walker St . ,
Linda_Z°olalian
11- 12 noon
Philip Puokis_
4-5:30 pm
Composition
Readings ,
Library, WSC
SATURDAY 19 SUNDAY 20
8:30 pm
BUTI
Chamber Music Concert I
Chamber Music Hall, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
THIRD WEEK YACP
YOUNG ARTISTS COMPOSITION PROGRAM July 14-20, 1^86
Dr. Robert Sirota, Director
MON. JULY 14
TUESDAY 15
WEDNESDAY 16
THURSDAY 17
FRIDAY 18
9-11 am
9-10 am
9-10 am
BUTI Boston
9-10 am
Lecture ,
Lessons,
Lessons ,
Day (Session I)
Eurhythmies ,
Steven Sacco
134 Walker St.,
134 Walker St . ,
Trip to Boston
Science Bldg. ,
Library, WSC
Jay Krasnow
Philip Edwards
University and
Room 4
1-2*30 pm
Musicianship
Class ,
Library, WSC
10- 11 am
David Shapiro
11- 12 noon
Leonard Lionnet
2-3 pm
10- 11 am
Emily Gitkin
11- 12 noon
Andrea Gaudette
sightseeing
10-11 am
Lessons ,
1 34 Walker St . ,
Linda Zoolalian
Lawrence Hetrick
1-2:30 pm
Musicianship
Class ,
Library, WSC
4-5:30 pm
Theory,
V. Sirota
Library, WSC
11-12 noon
4-5:30 pm
Theory,
V. Sirota
Library, WSC
8:30 pm
YAO Concert I
Eiji Oue,
conductor
Theatre, TWD
4-5:30 pm
Composition
Readings ,
Library, WSC
Philip Ruokis
4-5:30 pm
Composition
Readings ,
Library, WSC
SATURDAY 19 SUNDAY 20
8:30 pm
BUT I
Chamber Music Concert I
Chamber Music Hall, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
THIRD WEEK
YAPP
YOUNG ARTISTS PIANO PROGRAM July 14-20, 1986
Dr. Maria Clodes-Jaguaribe, Director
MON. JULY 14
TUESDAY 15
WEDNESDAY 16
THURSDAY 17
FRIDAY
18
b: 45-9: 30 am
Theory A
Study, WSC
8:45-9:30 am
Theory A
Study, WSC
9-10 am
Eurhythmies
Science Bldg. ,
BUTI Boston
Day - trip
to Boston
3-5:30 pm
Master Class
42 Walker St.
9:30-10:15 am
Theory E
Study, WSC
10:15-11 am
Theory C
Study, WSC
9:30-10:15 am
Theory B
Study, WSC
10:15-11 am
Theory C
Study, WSC
Room 4
3-5:30 pm
Master Class
42 Walker St.
University
and sight-
seeing
3-5:30 pm
Master Class
42 Walker St.
Private
Lessons :
1 : 30-6 pm
8:30 pm
YA0
Concert I
Eiji Oue,
conductor
Theatre, TWD
2-4 pm
Session for
YAPP, with
Mark Kroll
Theatre, WSC
SATURDAY 19
SUNDAY 20
1C: 35 am
BSO Open
Rehearsal,
to include
Rachmaninoff
Piano Concerto //2
Shed , TWD
8:30 pm
3UTI Chamber Music
Concert I
Chamber Music Hall,
TITO
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
THIRD WEEK YAQP
/OUNG ARTISTS QUARTET PROGRAM July 14-20, 1986
Norman Fischer, Director
rON. JULY 14 TUESDAY- 15 WEDNESDAY 16 THURSDAY 17 FRIDAY 18
3:45-11:45 am
lehearsal
and coaching
Science Bldg.,
looms 1-3:
Eischer with
Jawthorne 4tet;
dorrison with
Alcott 4tet.
1-2:30 pm
Lessons with
Morrison; VT-
1 pm-Kerry
1:30 pm-Lillian
2 pm-Wendy
Lessons with
Fischer; NH-
11:45 am-Tim
1 pm-Pouw
1:30 pm-coaching
with Fischer:
Thoreau 4tet,
Copley
3asement
2 : 30-4 pm
Master Class,
Theatre, WSC
8:45-11:45 am
Rehearsal
and coaching
Science Bldg.,
Rooms 1-3:
Fischer with
Alcott 4tet;
Morrison with
Thoreau 4tet.
1-2:30 pm
Lessons with
Morrison; VT-
1 pm-Lynne
1:30 pm-Kristine
2 pm-Gil
Lesson with
Fischer; NH-
1 pm-Ben
1 : 30 pm-coaching
with Fischer:
Hawthorne 4tet.
Copley
Basement
2 : 30-4 pm
Master Class
LRSH
8:45-11:45 am
Rehearsal
and coaching
Science Bldg. ,
Rooms 1-3:
Fischer with
Thoreau 4tet;
Morrison with
Alcott 4tet.
1-2:30 pm
Lessons with
Morrison: VT-
1 pm -Amy
1:45 pm-Raea
Lesson with
Fischer; NH-
1 pm-Douw
1 : 30 pm-coaching
with Fischer:
Hawthorne 4tet.
Copley Base.
2:00 pm
Juilliard
Quartet ,
Open Rehearsal
Chamber Music
Hall, TWD
8:45-11:45 am
Rehearsal
and coaching
Science Bldg.,
Rooms 1-3:
Fischer with
Alcott 4tet;
Morrison with
Hawthorne 4tet.
1-2:30 pm
Lessons with
Morrison; VT-
1 pm-Kerry
1:30 pm-Lillian
2 pm-Wendy
Lesson with
Fischer; NH-
1 pm -Tim
1:30 pm-coaching
with Fischer:
Thoreau 4tet.
Copley Ease.
2:30-4 pm
Master Class
Theatre, WSC
9-12 noon
Rehearsal
and coaching
Science Bldg.,
Rooms 1-3:
Fischer or
Morrison with
Hawthorne 4tet:
Morrison with
Thoreau 4tet.
1-2:30 pm
Lessons with
Morrison; VT-
1 pm-Lynne
1:30 pm-Kristine
2 pm-Gil
Lesson with
Fischer; NH-
1 nm-Ben
1:30 pm-coaching
with Fischer:
Alcott 4tet.
Cooley Basement
2:30-4 pm
Master Class
Library, WSC
8:30 pm
YAO Concert I
Eiji Oue,
conductor
Theatre, TWD
SATURDAY 19 SUNDAY 20
8: 3D pm
BUTI Chamber Music
Concert I,
Chamber Music Hall, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
THIRD WEEK EBQS
July 14-20, 1986
EMPIRE BRASS SEMINAR
MON. JULY 14 TUESDAY 15 WEDNESDAY 16 THURSDAY 17
9-9:30 am
warm-up
9:30-11:30 am
Quintet
coachings :
1) Koussevitsky
2) Stein
3) Greylock
4) Kenmore
5) Fenway
6) R.I.
1:30-3:30 pm
Workshop-
Robert Osmun,
Master Brass
Instrument
Technician
3:30-5 pm
Clinic :
Jeffrey
Funderburk,
Tuba Clinician
'Choosing the
Proper
Equipment"
SATURDAY 19
9-9:30 am
warm-up
9:30-11:30 am
Quintet
coachings :
1) Koussevitsky
2) Stein
3) Greylock
4) Kenmore
5) Fenway
6) R.I.
1:30 pm
Lge. Ensemble,
Koussevitsky
Stein
3:45-5:15 pm
Empire Brass
Open Rehearsal
Koussevitsky
6:00 pm
Tuba Recital
Jeffrey
Funderburk,
tuba
Patti Thom,
piano
Theatre, WSC
SUNDAY 20
9-9:30 am
warm-up
9:30-11:30 am
Quintet
coachings :
1) Koussevitsky
2) Stein
3) Greylock
4) Kenmore
5) Fenway
6) R.I.
1:30-3:30 pm
Quintet Master
Coachings :
1) Koussevitsky
2) Stein
3) Greylock
4) Kenmore
5) Fenway
3:45-5:15 pm
Empire Brass
Open Rehearsal
Koussevitsky
BUTI Boston
Day
Trip to Boston
University and
sightseeing
FRIDAY 18
9-9:30 am
warm-up
9:30-11 :00 arcs
Quintet Dress
Rehearsals
(same locations)
1:00 pm
Performance
Class
Theatre, WSC
1 : 30 pm
Berkshire
Brass
Recital ,
Stein
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
THIRD WEEK
FLUTS
FLUTE SEMINAR
Ms. Doriot Dwyer
Ms. Leone Buyse,
, Director
Assistant
July
1A-20, 1986
MON. JULY 1A
TUESDAY 15
WEDNESDAY 16
THURSDAY 17
FRIDAY 18
9:30-12:30
1-A pm
1-A pm
BUTI Boston
10 am- 12 noon
Seminar
Seminar
Seminar
Day - trip
Session with
Is . Buyse
Ms . Buyse
Ms. Buyse
to Boston
Mark Kroll
Last Barn,
Library,
LRSH
University
Theatre, WSC
:wd
WSC
and sight-
seeing
2-5 pm
3 : 30 pm
Seminar
YAO
Ms . Buyse
Concert I
LRSH
rtji Oue,
-.onductor
9:00 pm
Tieatre ,
BSO
nWD
Trevor Pinnock,
conductor
Jean Pierre
Rampal, flute
Shed, TWD
SATURDAY 19 SUNDAY 20
8:00 pm
Recital:
Leone Buyse,
flute
Martin Amlin,
piano
W. Stockbridge
Village School
(see bulletin
board for
transportation)
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
THIRD WEEK
HARPS
IARP SEMINAR July 14-20, 1986
Miss Lucile Lawrence, Director
MON. JULY 14 TUESDAY 15 WEDNESDAY-! 6 THURSDAY 17 FRIDAY 18
Lessons ,
146 Main St . ,
1 pm-Ross
2 pm-Valsi
3 pm- Warren
8:30 pm
YAO Concert I
Eiji Oue,
conductor
Theatre, TWD
Lessons,
146 Main St. ,
1 pm-Bloemker
2 pm-Kirt
3 pm-Morcheles
4 pm-Ponzio
Lessons ,
146 Main St . ,
1 pm-Ross
2 pra-Valsi
3 pm-Warren
Lessons ,
146 Main St . ,
1 pm-Bloemker
2 pm-Birt
a! /ar»
ATURDAY 19 SUNDAY 20
8:30 pm
BUT I Chamber Music
Concert I
Chamber Music Hall,
TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
THIRD WEEK
L & A
LISTENING AND ANALYSIS SEMINAR July 14-20, 1986
Dr. Jeremy Yudkin, Director
MON. JULY 14
TUESDAY 15
WEDNESDAY 16
THURSDAY 17
FRIDAY 18
1:30-3:30 pm
10 am - BSO
10 am - BSO
10 am - BSO
10 am -BSO
Seminar,
Closed
Closed
Closed
Closed
Dr. Yudkin
rehearsal
rehearsal
rehearsal
rehearsal
Hawthorne
(Pinnock)
(Pinnock)
(Pinnock)
(de Waart)
Cottage, TWD
Shed , TWD
Shed, TWD
(Rampal)
Shed, TWD
Room 2
Shed, TWD
1:30-3:30 pm
1 : 30-3 : 30 pm
1:30-3:30 pm
8:30 pm
Seminar ,
Seminar,
1:30-3:30 pm
Seminar ,
YAO
Dr. Yudkin
Pr. Yudkin
Seminar,
Dr .Yudkin
Concert I
Hawthorne
Hawthorne
Tr. Yudkin
Hawthorne
Eiji Oue,
Cottage, TWD
Cottage, TWD
Hawthorne
Cottage, TWD
conductor
Room 2
Room 2
Cottege, TWD
Room 2
Theatre, TWD
Room 2
4 pm - BSO
Closed
rehearsal
(Pinnock)
Shed, TWD
SATURDAY 19 SUNDAY 20
10:35 am
BSO Open
rehearsal
(de Waart)
Shed, TWD
8:30 pm
YAO Concert I
Eiji Oue,
conductor
Theatre, TWD
BOSTON UNIVERSITY TANCLEWOOD INSTITUTE
THIRD WEEK
*** SPECIAL EVENTS*** JULY 14-20, 1986
MON. JULY 14 TUESDAY L 5 WEDNESDAY 16 THURSDAY 17 FRIDAY 18
8:30 pm - YAO
6:00 ptn
2:00 pn - Open
BUTI Boston
3:45 pn
Concert I
Tuba Recital,
Rehearsal
Day (Session I)
In-House
Eiji Oue,
Jeffrey
Juilliard 4tet
Trip to Boston
Concert for
conductor
Funderburk,
Chamber Music
University and
YAVP-
Theatre, TWD
tuba
Patti Thom,
Hall, TWD
sightseeing
East Darn, TWO
piano
8:30 pm
6:00 pm
7 pn
Theatre, WSC
TMCO
In-House
Prelude Concert
Gustav Meier
Concert ,
Gilbert Kalish
8:30 pn
TMC Vocal
& conducting
fellows
Theatre, WSC
Shed, TWO '
Fellows
Recital,
Chamber Music
Hall, TWD
Theatre, TWD
8:30 pm
Trevor Pinnock,
harpsichord ;
Theatre, TWD
9 pn - PSO
Trevor Pinnock,
conductor ;
Jean Pierre
Rampal, flute
Shed, TWD
SATURDAY 19
SUNDAY 20
10:30 am - BSO
10 am
Open Rehearsal
TMC Chamber Music
(,de Waart)
Theatre, TWD
Shed , TWD
2:30 nm - BSO
2:00 pm
Edo de Waart,
TMC
conductor
Chamber Music
Andre Watts
Theatre, TWD
piano
Shed, TWD
C : 30 - BSO
Trevor Pinnock,
8:30 pm -BUTI
conductor
Chamber Music
Elmar Oliveira,
Concert I,
Violin
Chamber Music Hall
Shed, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK
YAIP
YOUNG ARTISTS INSTRUMENTAL PROGRAM
July 21-27, 1986
MON. JULY 21
TUESDAY 22
WEDNESDAY 23
THURSDAY 24
FRIDAY 25
9 : 30- 1 1 am
9:30-10:45 am
9:30-11 am
9:30-10:45 am
9:30-12:15
YAO Sectionals
YAO/YAVP rehearsal
, YAO
YAO/YAVP
YAO rehearsal.
Strings-E. Barn
Mr. Atherton
rehearsal.
rehearsal.
Mr . Oue
W/B/Perc-W. Barn
West Barn, TWD
Mr . Oue
Mr. Atherton
West Barn, TWD
11-12:15
West Barn, TWD
West Barn, TWD
11-12:15
YAO, Mr. Oue
11:15-12:15
11-12:15
1:15 pm
YAO-Tutti,
West Barn, TWD
YAO/YAVP
YAO , Mr . Oue
Theory
Mr . Oue
Mr. Atherton
West Earn, TWD
Study, WSC
West Barn, TWD
1:15-3:15 pm
West Barn, TWD
Mas ter /Per for-
1:15-3:15 pm
1:15 pm
1 ; 15 pm-Perc
mance Class,
1 : 30-3 pm
Chamber A
Chamber A
Ensemble
Muir String
YAO Reading
Lively S., WSC
Quartet
rehearsal
1:15 pm-Perc
1:15 pm
Theatre, WSC
Leonard Bernstein Ensemble
Percussion
1:15 pm-Bass
West Barn, TWD
Lively S., WSC
Ensemble
Ensemble
1:15-3:15 pm
Lively S., WSC
Parlour, WSC
Woodwind Class
3:30 pm (or later) 1:15 pm-Bass
Mr . Ruggiero
Brass Ensembles
Ensemble
1:15 pm
1:15 pm
East Barn, TWD
A) Fenway
Parlour, WSC
Bass Ensemble
Theory
B) Greylock
Parlour, WSC
Study, WSC
3:30 pm
C) Fiedler
3:30 pm
Chamber B
Chamber B
3* *45-6-45 pm
3:30 pm
4:45-5:30 pm
YAO/YAVP
Brass Ensem.:
6 pm
Ear Training
3:30 pm
Dress
A) LRSH
In-House Concert
Study, VJSC
Brass Ensemble
Rehearsal
B) Greylock
Muir String Quartet
LRSH
Theatre, TWD
C) Fiedler
Theatre, TWD
6 : 00 pm
YACO
4:45-5:30 pm
Science Bldg;. ,
Ear Trainin'
Room 4
Study, WSC
8:30 pro
BUTI Chamber
Music Concert II
Chamber Music Hall, TWO
SATURDAY" 26 SlINDAY 27
9:30-11 am 6:00 nm
YAO rehearsal. Bowing Session
Mr. Oue Study, WSC
West Barn, TWD
k k kkkkkkkkkk k k k k k
BOSTON UNIVERSITY
SCHOOL OF MUSIC
* * * * V; IQ ^ I ;V * * *■
2 : 00 pm
YA0/YAVP Concert
Theatre, TWD
Messrs. Oue &
Atherton, conducting
Beniamin Luxon, Baritone
■
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK
YAVP
YOUNG ARTISTS VOCAL PROGRAM JULY 21-27, 1986
Ms. Joan Heller, Director
MON. JULY 21
TUESDAY 22
WEDNESDAY 23
THURSDAY 24
FRIDAY 25
9-10 am ~
8:30 bus to TWD
9-10 am
8:30 bus to TWD
9-10 am
Voice lessons.
Theory A
voice lessons
practice time
9 am warm-up
Darrow
9 am warm-up
practice time
Darrow
East Barn, TWD
10-10:30 am
East Rarn, TWD
Darrow
9:45-10:45 am
9:20-10:45 am
Recitation A
9:20-10:45 am
10-11:30 am
Theory B
Chorus with
Darrow
Chorus with
Performance
Darrow
Orchestra
Orchestra
Class
West Barn, TWD
9-10:30 am
West Barn, TWD
Theatre,
10:45-11:30 am
Voice Class B
Darrow
Recitation B
12:30 pm - Bus
Darrow
12:30 bus to
Darrow
to Darrow
10:30 bus to TWD
Darrow
3-4 pm
Chorus
10-11:30 am
1 pm
1 pm
warm-up
Voice Class A
Theory B
11:15-12:15
Theory A
Fast Barn, TIT)
Theatre,
Darrow
Chorus with
Darrow
Darrow
Orchestra
5-6:45 pm
1-3:30 pm
West Barn, TWD
1:30-3:30 pm
Dress
1-2 pm
Voice Class A
Voice Class B
Rehearsal
Eurhythmies C
Opera Search
1-2 pm
Opera Search
Orchestra &
Small Ensem. D
D. Theatre
Eurhythmies D
D. Theatre
Chorus
East Barn, TWD
3:30-4:50 pro
East Earn, TIT)
6:30 pm
Theatre, TWD
2-4 pm
Music Skills,
Small Ensem. C
Coaching
Chorus
Becker
1:30-3:30 pm
Darrow
East Barn, TWD
Theory Room,
West Barn, TWD
Darrow
Bernstein
SATURDAY 26
4 pm
Rehearsal
Thomas Dunn
6:30 pm
Observation
*&***&**&*****
Special
Coaching
BOSTON UNIVERSITY
Topics
Darrow
2-3:30 pm
SCHOOL OF MUSIC
East Barn, TWD
Eurhythmies D
AUDITIONS
East Barn, TWD
6:30 pm
Coaching
3:30-4:30 pm
2 pm
Darrow
Chorus ,
BUTI Orchestra
East Barn, TWD
& Chorus Concert
8:30 pm
Messrs. ,Oue & Atherton
BUT I Chamber
4 pm - YAVP
conducting
Music Concert II
Staff meeting
Benjamin Luxon,
Baritone
Chamber Music Hall
East Barn, TWD
Theatre, TWD
TWD
( Downstairs )
SUNDAY 27
6:30 pm
Coaching
Darrow
8:30 pm - TMC
Vocal Fellows
Concert, CMH, TWO
.
' fivv' '
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK
YACP
YOUNG ARTISTS COMPOSITION PROGRAM JULY 21-27, 1Q86
Dr. Robert Sirota, Director
MON. JULY~ 21 TUESDAY"* 22 WEDNESDAY 23 THURSDAY 24 FRIDAY 25
Lessons ,
10 am - BSO
Lessons ,
10 am - BSO
Lessons,
134 Walker St.,
closed
134 Walker St. ,
closed
134 Walker ST.,
P-10 am
rehearsal
9-10 am
rehearsal
10-11 am
Jay Krasnow
Shed, TWD
Lawrence Hetrick
She'd, TWD
Andrea Gaudette
10- 1 i am
David Shapiro
11- 12 noon
4-5 : 30 pm
10- 11 am
Philip Edwards
11- 12 noon
4-5:30 pm
11-12 noon
Philip Ruokis
Leonard Lionnet
Composition
Emily Gitkin
Compo§ition
1-2:30 pm
Readings ,
Library, WSC
1:30-3:00 pm
Readings ,
Library, WSC
Musicianship Class
Library, WSC
4-5:30 pm
Theory
V. Sirota,
Library, WSC
Leonard Bernstein
Reading Rehearsal
West Barn, TWD
4-5:30 pm
Theory,
V. Sirota
Library, WSC
8:30 pm
BUTI Chamber
Music Concert II
Chamber Music Hall
TWD
SATURDAY 26 SUNDAY 27
*****************
BOSTON UNIVERSITY
SCHOOL OF MUSIC
AUDITIONS
*****************
2:00 pm
YAO/YAVP
Concert ,
Messrs. Oue &
Atherton ,
conducting
Benjamin Luxon,
Baritone
Theatre, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK YAPP
YOUNG ARTISTS PIANO PROGRAM JULY 21-27, 1986
Dr.
Maria
Clodes-Jaguar ibe ,
Director
MON.
JULY
21 TUESDAY
22 WEDNESDAY 23
THURSDAY 24 FRIDAY 25
8:45-9:30 am
8:45-9:30 am
9-10 am
1:30-6 pm
9 am-1 pm
Theory A
Theory A
Eurhythmies
Private
Dress
Study, WSC
Study, WSC
Science Bldg.,
Lessons
rehearsal
Room 4
42 Walker St.
YAPP
9:30-10:15 am
9:30-10-15 am
Theatre, WSC
Theory B
Theory B
10 am - BSO
4 pm - BSO
Study, WSC
Study, WSC
closed
closed
9 pm - BSO
rehearsal
rehearsal
program to
10:15-11 am
10:15-11 am
(to include
(to include
include :
Theory C
Theory C
P. Serkin,
P. Serkin,
Brahms Piano
Study, WSC
Study, WSC
piano)
piano)
Concerto #2
Shed , TWD
Shed, TFT)
Peter Serkin,
3-5:30 pm
1 : 30-6 pm
piano
Master Class
Private
3-5 : 30 pm
8:30 pm
Shed , TWD
42 Walker St. ,
Lessons
Master Class
Recital ,
42 Walker St.
Theatre, WSC
Alfred Brendel,
8:30 pm
piano
BUTI Chamber
Theatre, TWD
Music Concert II
Chamber Music
Hall, TWD
TatTiRDAY '16 TUNDAY‘27
8 am- 12 noon
practice time
for YAPP
Theatre, WSC
********* ******* *
BOSTON UNIVERSITY
SCHOOL OF MUSIC
AUDITIONS
*****************
2:00 pm
YAO/YAVP
Concert ,
Messrs. Oue &
Atherton,
conducting
Benjamin Luxon,
Baritone
Theatre, TWD
6 "00 pm
YAPP Final
Concert
(Session I)
Theatre, WSC
2 : 30 pm
BSO
program to
include :
Beethoven, Piano
Concerto # 3
Alfred Erendel,
piano
Shed, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK
YAOP
YOUNG ARTISTS OUARTET PROGRAM
JULY 21-27, 1986
Norman Fischer, Director
MON. JULY 21
TUESDAY 22
WEDNESDAY 23
THURSDAY 24
FRIDAY 25
8:45-11:45 am
8:45-11:45 am
8:30-9 am-
8-45-11:45 am
8:45-11:45 am
Rehearsals
Rehearsals
x-zarm-up
Rehearsals
Rehearsals
and coaching
and coaching
9 am- 12 noon-
and coaching
and coaching
Science Bldg.,
Science Bldg.,
Muir Master
Science Bldg.,
Science Bldg.,
Rooms 1-3:
Rooms 1-3:
Class ,
Rooms 1 & 2
Rooms 1-3
Morrison with
Morrison with
Theatre, WSC
Morrison with
Morrison x^ith
Hawthorne 4tet,
Thoreau 4tet,
Alcott 4tet
Alcott &
Fischer with
Fischer x>rith
1:00 pm
& Hawthorne
Thoreau,
Alcott 4tet
Alcott 4tet
BUTI Orchestra
4tet
Fischer with
& Thoreau
Reading Rehearsal
Hax^thorne 4tet
4tet
Lessons with
(Bernstein)
Lesson with
Morrison; VT ?
West Barn, TWD
Fischer; NH:
3:15-5 pm
1 pm-Raea
1 pm-Douw
Dress
Lesson with
1:30 pm-Kerry
rehearsal
Morrison; VT:
2 pm-Wendy
NO MASTER CLASS
1 : 30 pm
Theatre, WSC
1 pm-Amy
Fischer with
Lesson with
Thoreau 4tet
1:30-3:00 pm
Fischer ; NH •
Copley Basement
Master Class
1 pm- Tim
Theatre, WSC
2 : 30-4 pm
1:30 pm
Master Class
Lessons with
Fischer with
Theatre, WSC
Morrison; VT:
Hawthorne 4tet
3 pm-Lynn
Copley Basement
3:30 pm~Kristine
4 pm-Gil
2 : 30-4 pm
Master Class
Lesson with
Copley Basement
Fischer; NH:
3 pm-Ben
6 pm
Muir String Quartet
8 - 30 pm
Concert
BUTT Chamber
Theatre, WSC
Music Concert II
Chamber Music Hall,
TWD
SATURDAY 26
SUNDAY 27
12 noon-l:30 pm
Touch-up
class ,
Library, WSC
2 : 00 pm
YAO/YAVP
Concert ;
Messrs. Oue
* * * -V * * ************ * * *
BOSTON UNIVERSITY
SCHOOL OF MUSIC
AUDITIONS
************* * ******
and Atherton,
conducting
Benjamin Luxon, Baritone . Theatre, TWD
12 noon
YAOP
Final Concert
Theatre, WSC
r :
j .
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK
EBOS
EMPIRE BRASS SEMINAR JULY 21-27, 1986
MON. JULY 21
TUESDAY 22
WEDNESDAY 23
THURSDAY 24
FRIDAY 25
9-9:30 am
9-9 : 30 am
9-9:30 am
0-9:30 am
9-9*30 am
warm-up
warm-up
warm-up
warm-up
warm-up
9:30-11:30 am
9:30-11:30 am
9:30-11:30 am
9:30-11:30 am
9:30-11:30 am
Quintet
Quintet
Quintet
Ouintet
Quintet
coachings :
coachings :
coachings :
coachings :
coachings :
1) Koussevitsky
See Monday
See Monday
See Monday
See Monday
2) Stein
3) Greylock
for locations
for locations
for Locations
for locations
4) Kenmore
1:30-3:30 pm
1:30 pm - Large
1 : 30-3 : 30 pm
1 : 00 pm
5) Fenway
Quintet Master
Ensembles :
Quintet Master
Final
6) R.I.
Coachings :
1) Koussevitsky
coachings :
Performance
1) Koussevitsky
2) Stein
1) Koussevitsky
Class
3:15-5:30 pm
2) Stein
2) Stein
(Session I)
Faculty
3) Greylock
3:30 pm
3) Greylock
Theatre, WSC
recital
4) Fiedler
Empire Brass
4) Kenmore
followed by
Empire Brass
closing
ceremonies ,
Berkshire
Brass
Quintet
5) Fenway
3:30 pm
Open rehearsal
Koussevitsky
5) Fenway
3:30 pm
(Patti Thom,
Empire Brass
Empire Brass
Lawn by
Koussevitsky
piano)
Open rehearsal
Open rehearsal
Theatre, WSC
(reading session)
Koussevitsky
Theatre, WSC
8:30 pm BUT I
Chamber Music
Concert II;
Chamber Music Hall,
TWD
SATURDAY”' T6 SUNDAY' T7
AAAAAA AAAAAAAAA* A
BOSTON UNIVERSTIY
SCHOOL OF MUSIC
AUDITIONS
AAAAAA* AAAA AA AAA*
12 noon- 1:00 pm
Recital
Berkshire
Brass
Quintet
Theatre, WSC
2:00 pm
YAO/YAVP
Concert ,
Messrs. Oue
& Atherton,
conducting
Benjamin Luxon,
Baritone
Theatre, WSC
> , .■
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK
FLUTS
FLUTE SEMINAR JULY 21-27, 1986
Ms. Doriot Dwyer, Director
Ms. Leone Buyse, Assistant
MON. JULY 21
TUESDAY 22
WEDNESDAY 23
THURSDAY 24
FRIDAY 25
9 am- 12 noon
Seminar,
Ms . Dwyer
Theatre, WSC
9 am- 12 noon
Seminar,
Ms . Dwyer
Theatre, WSC
Free Day
1:30-3:30 pm
Seminar ,
Ms. Buyse
East Barn, TWD
1:30-3:30 pm
Seminar ,
Ms . Dwyer
LRSH
1-3 pm
Seminar ,
Ms . Dwyer
LRSH
1:30-3:30 pm
Seminar ,
Ms . Buyse
LRSH
7:00 pm
Final FLUTS
recital
Theatre, WSC
5-0 pm
Party for
FLUTS
Dwyer home
8:30 pm EUTI
Chamber Music Concert II
Chamber Music Hall, TWD
SATURDAY* 26 SUNDAY 27
*****************
BOSTON UNIVERSITY
SCHOOL OF MUSIC
AUDITIONS
*****************
2:00 pm
YAO/YAVP
Concert
Messrs. Oue
& Atherton,
conducting
Benjamin Luxon,
Baritone
Theatre, TWD
• .. .
. ' ' '
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK
HARPS
HARP SEMINAR JULY 21-27, 1986
Miss Lucile Lai/rence, Director
MON. JULY 21 TUESDAY^r WEDNESDAY ’^ THUPSDaT'24 FRIDAY~25
Lessons ,
146 Main St . ,
1 pm-Bloemker
2 pm-Hirt
3 pm-Morcheles
4 pm-Ponzio
Lessons ,
146 Main St . ,
1 pm-Ross
2 pm-Valsi
3 pm-Warren
8:30 pm
BUT I Chamber
Music Concert II
Chamber Music Hall,
TWD
Lessons,
146 Main St . ,
1 pm-Bloemker
2 pm-Hirt
3 pm-Morcheles
4 pm-Ponzio
Lessons ,
146 Main St.,
1 pm-Foss
2 pm-Valsi
3 pm-Warren
SATURDAY 26 SUNDAY 27
2:00 pm
YAO/YAVP
Concert
Messrs. Oue
& Atherton
conducing
Benjamin Luxon,
Baritone
Theatre, TWD
********* *********
BOSTON UNIVERSITY
SCHOOL OF MUSIC
AUDITIONS
******************
*
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FOURTH WEEK L 6 A
LISTENING AND ANALYSIS SEMINAR JULY 21-27, 1986
Dr. Jeremy Yudkin, Director
MON. JULY 21
TUESDAY 22
WEDNESDAY 23
THURSDAY 24
FRIDAY 25
1:30-3:30 pm
1:30-3:30 pm
10 am BSO
10 am BSO
10 am BSO
Seminar,
Seminar,
Closed rehearsal
Closed rehear.
Closed Rehear.
Dr. Yudkin,
Dr. Yudkin,
Mr. Ozawa
Mr. Bernstein
Mr. Bernstein
Hawthorne
Hawthorne
Shed, TWD
Shed, TWD
ShecJ , TWD
Cottage, TWD
Cottage, TUT)
Room 2
Room 2
1:30-3:30 pm
1:30-3:30 pm
1 : 30-3 : 30 pm
Seminar ,
Seminar ,
Seminar
8:30 pm BUTI
4:00 pm BSO
Dr. Yudkin
Dr. Yudkin
Dr. Yudkin
Chamber Music
Closed rehearsal
Hawthorne
Hawthorne
Hawthorne
Concert II
Mr. Ozawa
Cottage, TWD
Cottage, TWD
Cottage, TIT)
Chamber Music
Shed, TWD
Room 2
Room 2
Foom 2
Hall, TWD
4:00 pm BSO
4:00 pm BSO
Closed rehearsal
Closed rehear.
Mr. Bernstein
Mr . Ozawa
Shed, TWD
Shed, TWD
SATURDAY 26 SUNDAY 27
*** ******* *******
BOSTON UNIVERSITY
SCHOOL OF MUSIC
AUDITIONS
*****************
10:35 am BSO
Open rehearsal
Mr. Ozawa
Shed, TWD
2 : 00 pm
YAO/YAVP Concert
Messrs. Oue &
Atherton,
conducting
Benjamin Luxon ,
Baritone
Theatre, TWD
■ a-
BOSTON UNIVERSITY TANCLEWOOD INSTITUTE
FOURTH WEEK
***SPECIAL EVENTS*** JULY 21-27, 1986
MON. JULY 21
TUESDAY 22
WEDNESDAY 23
THURSDAY 24
FRIDAY 25
8:30 pm
1:15 pm
9 am- 12 noon
7 : 00 pm
7:00 pm
BUT I Chamber
Mas ter /Per for-
Mas ter /Per for-
FLUTS
Prelude
Music Concert II
mance Class
mance Class
Final Recital
Concert
Chamber Music
Muir Quartet
Muir Quartet
Theatre, WSC
Malcolm Lowe,
Hall, TWD
Theatre, WSC
Theatre, WSC
8 : 30 pm
violin
Shed, TWD
6:00 pm
1:30-3:30 pm
Alfred Brendel,
In-House
YAO
piano
9:00 pm - BSO
Concert
Reading
Theatre, TIT)
Seiji Ozawa,
Muir Quartet
Rehearsal ,
conductor
Theatre, WSC
Mr. Bernstein
Peter Serkin,
piano
8 : 30 pm
8:30 pm
Shed, TWO
TMCO
TMC - Chamber
Leonard Bernstein
Music/
& TMC Fellows,
Vocal Music
conducting
Shed, TWD
Theatre, TWD
SATURDAY 26
SUNDAY 27
**************** *
BOSTON UNIVERSITY
SCHOOL OF MUSIC
AUDITIONS
**************** *
10 : 30 am - BSO
Open
rehearsal
Seiji Ozawa,
conductor
Shed, TWD
2:00 pm
YAO/YAVP
Concert ,
Messrs . Oue &
Atherton,
conducting
Benjamin Luxon,
Baritone
Theatre, TWD
6:00 pm - YAPP
Final Recital
Theatre, WSC
10:00 am - TMC
Chamber Music
Theatre, TWD
12:00 noon
YAQP Final Recital
Theatre, WSC
2:30 pm - BSO
Seiji Ozawa,
conductor
Alfred Brendel,
piano
Shed, TWD
7 : 00 pm
Juilliard Quartet
Open
Rehearsal
Miss Hall School
8:30 pm - TMC
Vocal Recital
Chamber Music Hall,
TWD
8 30 pm - BSO
Leonard Bernstein,
conductor
Mi Dori, Violin; Shed, TWD
BOSTON UNIVERSITY TANCLEWOOD INSTITUTE
FIFTH WEEK YAIP
YOUNG ARTISTS INSTRUMENTAL PROGRAM
JULY 28-AUGTJST 3, 1986
MON. JULY 28
TUESDAY 29
WEDNESDAY 30
TH1JFSDAY 31
FRI. AUGUST 1
9:30-10:45 am
9:20-10:30 am
9:20-10:45 am
9:20-12:15
9:20-10:45 am
sectionals :
sectionals :
sectionals :
YAO - Tutti
sectionals :
WW - E. Barn
strings- E. Barn
strings-E. Barn
Mr . Oue
strings-E. Barn
Brass-Theatre
ww/brass/ perc . -
ww/brass/perc. -
West Barn, TWD
ww/brass/perc . -
WSC
West Barn
West Barn
West Barn
Perc. -Lively
10*45-12 • 15
11-12:15
1:15 pm
11-12:15
Stones
YAO - Tutti
YAO - Tutti
Chamber Music A YAO - Tutti
1st vln-W. Bam
Mr . Oue
Mr . Oue
3:30 om
Dr. Sirota
2nd vln-LRSH
West Barn, TWD
West Barn, TWD
Chamber Music B West Barn, TWD
vla-Science
Bldg. , Rm. 4
1:15 pm
1:15 pm
6:00 pm
1:15 om
Celli-CC //10
Chamber Music A
Perc. Ensemble
In-House
Perc. Ensemble
Bass-Parlour
3:30 pm
Lively Stones
Concert
Lively Stones
Chamber Music B
1:15 om
1:15 pm
1 1 am- 12:15 pm
Bass Ensemble
Bass Ensemble
YAO - Tutti
6:00 pm
Tarlour, WSC
Parlour, WSC
Mr. Oue,
In-House Concert
1:15 pm
1:15 Pm
West Barn, TWD
Theory
Chamber Music A
Study, WSC
1:15 nm
3:30 pm- Brass
Perc. Ensemble
3:30 pm
Ensemble
Lively Stones
Brass Ensemble
Theatre, WSC
1*15 pm
1 ) Fenway
3 : 30 pm
Bass Ensemble
2) Greylock
Chamber Music B
Parlour, WSC
3) Fiedler
1:15 om
Theory,
6-7:30 pm
Study, WSC
Reading
Orchestras B & C
3:30 pm
Dr. Sirota
Brass Ensemble
Theatre, WSC
1) LP.SH
2) Grey lock
3) Fiedler
6-7:30 pm
Reading
Orchestra A
Mr . Oue
Theatre, WSC
SATURDAY* 2 SUNDAY 3
9:20-10:45 am
YAO -Tutti
Mr . Oue
West Barn, TWD
11-12:15
YAO, Dr. Sirota
West Barn, TWD
r
BOSTON UNIVERSITY TANOLEWOOD INSTITUTE
FIFTH WEEK YAVP
YOUNG APTISTS VOCAL PROGRAM July 28-Auyust 3, 1986
Ms. Joan Heller, Director
MON. JULY 28
TUESDAY 29
WEDNESDAY 30
THURSDAY 31
FRI. AUGUST 1
9-10 am
9-10 am
9-10 am
9-10 am
9-10 am
voice lessons,
voice lessons.
voice lessons,
voice lessons,
voice lessons,
practice time
practice time
practice time
practice time
practice time
Da r row
Darrow
Darrow
Darrow
Darrow
9:45-10:45 am
9:45-10:45 am
9:45-10:45 am
9:45-10:45 am
10-11:30 am
Theory A
Theory B
Theory A
Theory B
Performance
Darrow
Darrow
Darrow
Darrow
Class
Theatre ,
10:45-11:30 am
10:45-11:30 am
10:^5-11:30 am
10:45-11:30 am
Darrow
Recitation A
Recitation B
Recitation A
Recitation B
Darrow
Darrow
Darrow
Darrow
1-2 nm
Special Topics
10-11:30 am
10-11:30 am
10-11:30 am
10-11:30 am
Dr. F. Sirota
Voice Class B
Voice Class A
Voice Class B
Voice Class' 'A
Introduction to
Theatre,
Theatre,
Theatre ,
Theatre,
Contemporary
Darrow
Darrow
Darrow
Darrow
Music Week
East Barn, TWD
1-2 pm
1-2 pm
1-2 pm
1-2 pm
Eurhythmies C,
Eurhythmies D,
Sm. Ensemble D
Sm. Ensemble C,
2-4 pm
Sn. Ensemble D
Sm. Ensemble C
Diction C
Diction D
Chorus
East Barn, TVJD
East Barn, TVJD
East Barn, TWD
East narn, TWD
East Barn, TWD
2-4 pn
2-4 pm
2-4 pm
2-4 pm
Chorus
Chorus
Chorus
Chorus
East Barn, TVJD
East Barn, TVJD
East Barn, TWD
East Barn, TWD
6*30 pm
4 pm
4 pm
6:30 pm
Coachinp
Music Skills
YAVP Staff
C-oa chine
Darrow
East Barn, TVJD
6:15-7 pm
Conducting
6:30 pm
Coachinp
Darrow
meeting
East Barn, TWD
6-15-7 nm
Composition
6. : 30 pm
Coachinp
Darrow
8:30 pm
Benj am in Luxon ,
Baritone
Frederick Moyer,
piano
Theatre, TWD
Darrow
SATURDAY 2
2 PM TMC
Fellows
Contemporary
Music Festival Concert; Theatre, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIFTH WEEK
YACP
YOUNG ARTISTS COMPOSITION PROGRAM JULY 28-AUGUST 3, 1986
Dr. Robert Sirota, Director
MON. JULY 28
TUESDAY 29
WEDNESDAY 30
THURSDAY 31
FRI. AUGUST 1
9-11 am
10 am - BSO
lessons
Lessons
10-11 am
Lecture
Closed
134 Walker St. ,
134 Walker St.,
Eurhythmies
John Goodman,
rehearsal
9-10 am
9-10 am
Science Bldg. ,
Composer
(Ozawa)
Jay Krasnow
Philip Edwards
Room 4
Library, WSC
Shed, TWD
10-11 am
10-11 am
David Shapiro
Emily Gitkin
11 am- 12 noon
1-2:30 pm
4 pm - BSO
11-12
TT-T5
Lesson-
Musicianship
Closed
Leonard Lionnet
Andrea Gaudette
134 Walker St.,
Class
rehearsal
Philip Ruokis
Bring
(Ozawa)
1-2:30 pm
1-2:30 nm
Schoenberg
Shed, TWD
Musicianship
Composition
Score
Class
readings ,
Library, WSC
Library, WSC
Library, WSC
4-5 : 30 pm
3-4 pm
4-5:30 pm
Theory
Lesson -
Composition
V. Sirota
Lawrence
readings ,
Library, WSC
Hetrick
Library, WSC
4-5:30 pm
Theory
V. Sirota
Library, WSC
SATURDAY 2 SUNDAY 3
2 pm
Festival of
Contemporary
Music Concert
TMC Fellows
Theatre, TWD
10 am
Festival of
Contemporary Music
TMC Fellows
Theatre, TWD
8:30 pm
Festival of
Contemporary
Music
Theatre, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIFTH WEEK
YAPP
YOUNG ARTISTS PIANO PROGRAM JULY 28-AIJGUST 3, 1°P6
Dr. Maria Clodes-Jaguaribe , Director
MON. JULY 28 TUESDAY 29
WEDNESDAY 30
THURSDAY 31
FRT . AUGUST 1
Private
9 am
3-5:30 pm
in am - BSO
lessons ,
Theory
Master Class
Closed
42 Walker St . ,
Placement
42 Walker St.
rehearsal ;
1 : 30 pm-
Test,
to include:
Bohachewsky
Study, WSC
Beethoven, Piano
2 : 00 pm-
Concerto #4
Dinnerstein
1 : 30-6 pm
Emanuel Ax,
2 : 30 pm-
Private
piano
Philipose
lessons
Shed, TWD
(NEW STUDENTS:
(schedule
see schedule
posted
3-5:30 pm
posted at WSC)
at WSC)
Master Class
42 Walker St.
SATURDAY 2
10:35 am - BSO
Open rehearsal
Neeme Jarvi,
conductor
Emanuel Ax,
piano
Shed, Tin)
SUNDAY 3
2:30 pm - BSO
Neeme Jarvi,
conductor
Emanuel Ax,
piano
Shed, TWD
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIFTH WEEK
YAPP
YOUNG ARTISTS PIANO PROGRAM
JULY 28-
-AUGUST 3, 1986
Dr. Maria
Clodes-Japuaribe , Director
MON. JULY
28 TUESDAY 29
WEDNESDAY 30
THURSDAY 31
FRT . AUGUST 1
Private
9 am
3-5:30 pm
in am - BSO
lessons ,
Theory
Master Class
Closed
42 Walker St . ,
Placement
42 Walker St.
rehearsal ;
1 : 30 pm-
Test,
to include:
Bohachewsky
Study, WSC
Beethoven, Piano
2 : 00 pm-
Concerto #4
Dinnerstein
1 : 30-6 pm
Emanuel Ax,
2 : 30 pm-
Private
piano
Philipose
lessons
Shed, TWD
(NEW STUDENTS:
(schedule
see schedule
posted
3-5:30 pm
posted at WSC)
at WSC)
Master Class
42 Walker St.
SATURDAY 2
10:35 am - BSO
Open rehearsal
Neeme Jarvi,
conductor
Emanuel Ax,
piano
Shed, ITT)
SITNDAY 3
2:30 pm - BSO
Neeme Jarvi,
conductor
Emanuel Ax,
piano
Shed, TWD
BOSTON- UNIVERSITY TANGLEWOOD INSTITUTE
FIFTH WEEK F.PQS
EMPIRE CRASS SEMINAR
JULY 28-AUGUST 3, 1986
MON. JULY 28 TUESDAY 29
Arrival,
Registration
WEDNESDAY 30 THURSDAY 31 FRI. AUGUST 1
9-9:30 am
warm-up
9:30-11:30 am
Auditions :
Trumpets-
Fiedler
Trombones-
Koussevitsky
Horns-
Fetrway
Tuba-
Kenmore
1:30-3:30 pm
Quintets :
1st rehearsals-
locations :
1 ) Fenway
2) Kenmore
3) Fiedler
4) Koussevitsky
5) Greylock
6) Stein
7) Copley
Basement
8) Bunkhouse
9-9 : 30 am
warm-up
9:30-11:30 am
Quintet
Coachings ;
8 locations
-see Wednesday
af ternoon-
11:30 am
Empire Brass
rehearsal with
Mr. Ozawa
Shed , TWD
1 : 0C pm
Talks & Walks:
Empire Brass
Tent, TWD
3:30 pm
Empire Brass
Open rehearsal
Koussevitsky
9-9:30 am
warm-up
9:30-11*30 am
Quintet
Coachings
8 locations
-see Wednesday
afternoon-
1:30 pm
Colonial Brass
U.S. Air Force
Theatre, WSC
4:00 pm
Empire Brass
rehearsal with
Mr. Ozawa
Shed, TWD
9:00 pm
Recital :
"A Brass
Spectacular"
Shed, TWD
3:30 pm
Empire Brass
Open Rehearsal
Koussevitsky
6:30 pm
Berkshire Brass
Quintet Recital
Koussevitsky
SATURDAY 2 SUNDAY 3
1:00 pm
Berkshire Brass
Quintet Recital
Koussevitsky
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIFTH WEEK
L & A
LISTENING AND ANALYSIS SEMINAR JULY 28-AUGUST 3, 1986
Peter Gram Swing, Director
MON. JULY 28 TUESDAY 29 WEDNESDAY 30 THURSDAY 31 FRI. AUGUST 1
Arrival,
10 am - BSO
1 : 30-3 : 30 pm
9-11 am
registration
Closed
Seminar,
Seminar,
rehearsal
Mr . Swing
Mr . Swing
4:00 pm - BSO
(Ozawa)
Hawthorne
Library, WSC
Closed
Shed , TWD
Cottage
rehearsal
(Ozawa)
1:30-3:30 pm
Room 2
Shed, TWD
Seminar ,
Mr . Swing
Hawthorne
Cottage, TWD
Room 2
4 pm - BSO
Closed
rehearsal
(Ozawa)
Shed, TWD
SATURDAY 2 SUNDAY 3
10:35 am
BSO - Open
rehearsal
(Ozawa)
Shed , TWD
DOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FIFTH WEEK
***SPECIAL EVENTS*** JULY 28-AUGUST 3, 1986
MON. JULY 28
TUESDAY 29
WEDNESDAY 30
THURSDAY 31
FRIDAY AUGUST 1
8:30 pm
6:00 pm
8:30 pm
6:00 pm
7:00 pm
TMC0
In-House
Benjamin Luxon,
In-House
Prelude ,
Leon Fleisher
Concert
Baritone
Concert
Doriot Anthony
and Fellows,
Theatre, WSC
Frederick Moyer,
Theatre,
Dwyer, flute
conductine
Theatre, TWD
8:30 nm
Juilliard
String
Quartet
Theatre, TWD
piano
Schubert, Die
schOne MUllerin
WSC
Harold Wripht,
clarinet
Jules Eskin,
’cello
Gilbert Kalish
piano
Shed, TUP
9-00 pm
Recital *
’’A Trass
Spectacular"
To include
Empire Trass
Quintet
Shed , TWD
SATURDAY 2 SUNDAY 3 ~ ’
10:30 am - BSO
Open rehearsal
Neeme Jarvi,
conductor
Emanuel Ax,
piano
Shed, WD
10 am - Festival of Contemporary
Music, (TMC Fellows)
Theatre, TWD
2:30 pm - ESO
Neeme Jarvi, conductor
Emanuel Ax, piano
Shed, TWD
2*00 pm - Festival
of Contemporary 8:30 pm - Festival of Comtemporary
Music (TMC Fellows) Music (TMC Fellows)
Theatre, TUP Theatre, TWD
8:00 pm
BSO & TFC
Seiji Ozawa,
conductor
Weber , . Oberon
BOSTON UNIVERSITY TA.NGLEWOOD INSTITUTE
SIXTH WFFK y/,r
Y0UNC- ARTISTS INSTRUMENTAL PROGRAM
AUGUST
4-10, 1006
MON. AUG. 4
TUESDAY 5
WEDNESDAY r
THURSDAY 7
FRIDAY 8
°:20 am-12*15 nm
0:20-10:45 am
9:20-10:45 am
o i 20-12:15
9:20-12:15
YAO rehearsal
YAO, Mr. One
YAO, Mr. Oue
YAO, Mr. Oue
YAO, Mr. Oue
Dr. Sirota
11-12:15
11-12:15
West Barn, TWO
West Barn, TOD
West Barn, TOD
YAO, Dr. Sirota
YAO, Dr. Sirota
West Barn, TOD
West Barn, TWD
1:15 om
1*15 nm-
1:15-3:15 om
Oh amber Music A
Chamber Music A
YAO rehearsal
1*15-3:15 om
1:30-3:30 nm
3:3° nm
1:15 nm-Pass
Mr. Oue
Chamber Music A
'Cello Master
Chamber Music B
Ensemble
West Barn, TOD
3:30-5:30 nm
Class, Yo-Yo-Ma
Parlour, WSC
Chamber Music B
Theatre, WSC
6:30 om
1*15 nm-
*3:45 nm-
In-House
Pore. Ensemble
Percussion
6-6:45 om
*3:30 ^m-Bass
Concert
Lively Stones
Ensemble
Ear Traininn
Ensemble
Theatre, WSC
3:30 nm-
Lively Stones
Study, VISC
Parlour, WSC
Chamber Music P
*3:45 on-
*3:30
Bass Ensemble
Perc. Fnsemble
3: on nm-Brass
Parlour, VS C
Lively Stones
Ensemble (laree
*3:45 orn-
*3:30 ^m -Brass
Theatre, WSC
Brass Ensemble
Ensemble
1) LPSH
1) Fefrway
2) Grey lock
2) Ore v ock
3) Fiedler
3) Hod'ier
A-5 g
6-7 :?o nn
Master Class,
Peed i on
Mr. 7aretskv
Orchestra
Theatre, VSC
Theatre, WSC
4-5 nm-Class:
"The Contra-
Bassoon"
Richard Blaster
LRSH
*note chonne
S"TeDPnY n SUNDAY 1° ~
9:20-12:15
-YAO, Dr. Sirota
-West Bam, TOD
6-7':30~'pm
Road inn . •
'Orchestra
Theatre, WSC " - - — ■-
r
BOSTON UNIVERSITY TANFLEVOOD INSTITUTE
vOHfJC ARTISTS VOCAL PROGRAM
PV>. -loan Heller, Director
SIXTH »•
AUGUST
ippp YAvn
A -ios ]036
/'{jo. 4
TUESDAY 5
IfpnM peppy r
TUUPSOAY 7
FRIDAY 3
9-10 an
0-10 gn
0-10 an
o-]o an
0-in am
voice lessons,
voice lessons.
voice lessons.
voice lessens.
voice lessons,
practice tine
practice time
practice tine
practice time
practice tine
Lucy booths
Lucv Booths
Lucy Booths
Lucy Rooths
Lucv Booths
n arrow
Harrow
Harrow
narrow
Harrow
0;45 atn
9:4D-].0*45 am
9»A5-1p*ar an
0..1.K-.1 n. /ip am
ln am- 13 noo^
Theory "
Theory n
Theory A
Thoorv 0
Rhvllis Curtin
n ■> rrnw
Harrow
Harrow
Oarr*""*'
'Vaster Class
Theatre,
1^. -1.0-1 J -30 an
1.0: A 5-11 - on ap
1.0:45-11 • 30 an
1 0 • A r-1 1 • 70 an
Harrow
recitation A
Recitation n-
Recitation A
Recitation H
on r row
Harrow
Harrow
Harrow
?-* m
Chorus
lo„i i *po an
10-11 • 30 nr
1R-11-30 am
ip-1 1 *ao an
Fast Barn, T’-'n
voice rlass P
Voice Class A
Voice Class B
Voice Class A
T^,o,o +■ po
: . it. ^ I • - 3
Theatre,
Theatre ,
Theatre,
Harrow
Harrow
Harrow
Harrow
i -i o^?-15 n n
1:15-3:15 rn
1:15-3:15 rm
1*15-3:15 rm
F’-rrus
Chorus
Chorus
Chorus
fast Darn, THP
East Barr., T!,r
Fast Barn, T‘!H
East Barn, TWO
3*15-4:30 on
3:1E-4:?H nn
3:15-'" *30 pn
p ' 1 r„/” • ao np
cm. Ensemble 0,
Sn. Ensemble C5
Sn. Ensemble H,
Sn. Fp sent la r.
niction C
Diction D,
Diction C
Diction n
fast Earn, T"p
Music Skills
East Pern, T,!H
East narn9 TWD
East Barn, P'H
0*0 O r\p-i
A. • 09 nn
ny nn
Ccachino
5:15-7 nn
YA.vr Staff
Foachi nn
poV'*
Conductin'”
meet inn
narrow
f*. *» jtn op
East Darn, TWO
0*0 0 r»H
Coachin^
p,.po np **
TMC Follows
Harrow
5:15-7 nn
To so oh Fil verstein ,
Tho?.trc, T!,,n
Com no si tier
viol i n
Q • 00 *^rv) 'k'k
5:30 nn
neter Scrkin,
Juil 1 iard
foachi pp
niano
Quartet
Harrow
Thoa^rr TUP
Theatre , TMn
0 - ”30 n|ri iMr
jp-ipn 5
Oliver Knussen,
conductor
Theatre, TV'H
yrjinpr1^ sway jo
**denotes concert which is part of the
Festival of Contemporary Music
BOSTON UNIVERSITY T/'M^LFWOOD INSTITUTF
SIXT!! MFFK
Y.^CP
YOUNG /'P.TISTS COMPOSITION PROW*-
Dr. Robert Sirota, Director
AUGUST ^-10, 1936
f*on„ /'tin. a
TUfWY 5
WEDNESDAY f
THURSDAY 7
FRIDAY o
20-12: 15
11-12:15
Lesson:
Lessons :
Lessons °
YAC rehearsal
YAO rehearsal
W Walker St. ,
134 Walker St.,
1?a ,,falker St.,
Mr. Sirota
fV. Sirota
9-10 am
c-]0 am
9-10 am
He st Barn, Too
Test Barn, TWO
Fhilin Puokis
Jay Kras now
Lav'rencr Hetrick
IO-n"am“
10-11 an
1-2 •3° pm
Musi ci anshin
1:30-3 pm
Lecture
11-12:15
YAO rehearsal
David Shaniro
IT-19
Phil in Edvards
11=1?”“ “
Cl ass
Ton Vionieri,
Mr. Sirota
Leonard Lionnet
Fmi 1 y oitkin
Library, ! 'SC
Composer
West Barn, TWO
2-3 nm
Library, WSC
^-5:30 nm
Andrea Paudctte
"■'5:30 nm
1:30-3 nm
Comno sition
Theory
A-5:30 prn
Musici anshin
readings ,
V. Sirota
Comncsitior
Class
Library, WSC
Library, WSC
read inns ,
Library, use
Library, WSC
?*?********+***£$*£**££££ *******
ALL YApR ST! DENTS SHOULD
ATTEND THE FESTIVAL OF
CONTEMPORARY MUSIC CONCERTS
a_5:30 nm
Theory
V. Sirota
Library, !'co
AT TWO THIS WEEK. PLEASE SFF
SPFCI/'L FVEMTS PAGE FOR
SPHFPULF.
SATURDAY o
cpripAY
o . pfV] 0*1^
YAn rehearsal
F,1r. Sirota
'■est Barn, T,i,D
- _ T_.
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
SIXTH WEEK
y/\pp
YOUNG /'RUSTS PIANO PROGRAM AUGUST '-}0, ] no,S
Pr. Maria Clodes-Jaouaribe, Director
mN7 /M ,:o~A Tl !FSDAY 5 WEDtrFSOAY-? THURSDAY 7 fpjp/'v o
8: a 5 an -Theory A
°:30 am- Theory B
10:15 am -
Theory C
11 am-Theory P
Study, USC
3-5:30 nm
Master Class
n Walker St.
Theory A, in am -
B, C " D Eurhythmies
(same times Science Bldo.,
as Monday) °oom r
Private lessons
1 pm-Auerbach
1:3° nn-Austin
2 nm-Bartcn
2:30 nm -
Bohachewskv
3 nm~Bourlas
3:30 nn-Dobrusk.v
A nm-Fi>al
A ; 30 nn -
Dinnorstein
5 nm-Root
r? Walker St.
3-5:30 nm
Master Class
A2 Walker St.
Private
lessons :
a? Walker St.
1 on- Gascoyne
1:30 pm- Krakow
2 nm-Park
2" 30 nrn-rhi 1 innse
3 on-Pi noel
11:15 am - PSO
Closed rehearsal •
to include:
Mozart, rlanr
Concerto K. Ago
Horacio 0 u t i e r r e z
-pi ano
Shed, TMP
3:30 pm-Sanchez
A nm-Saphir
0*30 pm-Sokolof-F 3 • 30-5 * °0 nm
Mastor Class
8:30 nm *? Walker St
Aosoob Sil verstein 5
viol in
Pptor S^rkin ,
oianr-
Theatre, TWO
SATUPPAY 0 SUNDAY 1r
8:3r nm - BSP
Ounther Herbio,
conductor
Horacio Gutierrez,
piano
sihoh two
pnsTOri UNIVERSITY T/'f^L.n-'CCD INBTITI'TF
cj xj!' ifprK
pp.oc
FHPIPP PP/SS SEMIN PP
niopsi c - 1 0 , 1 o°>c
flic, r TUESDAY 5
WEDNFCP"V r
TH! !pS nr v 7
pnjn.av p
n-o .30 am
o-o : 30 am
9-0-30 am
0—0=30 am
0 _o • 30 am
Warm-up
Warn-un
V-'Srm-un
Warm-uo
Warm -uo
9:30-11-30 a.n.
0:30-11 :3C am
Q; 30-1 0-.30 am
o- 30-11 -so an
9:30-11:30 am
Puirtet coach inns
Ouintet
Press Pe-
Hui ntots
Ouintet ro-
1) Fenway
coachir^s
hearsal s
first ro-
hoarsals (9
?.) Kenmorc
(see Mor.)
(° locations’)
hearsal s
locations’)
9) Fiedler
(0 locations)
r) Koussevitskv
3 -30-3.30 nm
30-30-11 .30 am
3 -ao_a.no nn
e) rrevlock
faster-
Performance
1 : r,r' r»r)
Master-
r) Stein
coachings
Class .
Larne FnsomMes
coacM nos ( n-
71 foniov Basement (see Mop.
9) nunkhouse for 9
Koussevitskv
1 ) Koussovi tsh'
?)ctein
locations)
1 reef ns )
1-9:30 nn
3-30 nn
3 *70 np
Performance
Enoire Crass
Lecture,
Han Colin, New
York nrns$
Class »
Krusscvi tsky
^ C < » Hp
Ermine Pr^ss
Coen n^-
hcars al
Vc' ' vi tskw
Onnp Rehearsal
Ko ussevi tskv
nubl i shor
3 • 30 nm
K.o ussevi tsky
Emniro Brass
Pnr>p Pg-
7-oe nm solo
hearsal
recital , members
Koussc ' ■ v ’ v
of Pcrkshiro
Brass nui ntot ,
Valerie Becker,
ni ^ro
Theatre , !*SC
STT l'nn/,v o SUPPLY 3 e
POSTON UNIVERSITY TAHr’LF>'OPD IMSTITUTF
LISTENING AND ANALYSIS SEMINAR
Peter Cram Swine, Director
SIXTH VTFK l " A
AUCUST —in, 1°8C
Mpf.i A| ir />.
TUFSD/'.Y C
HFDfiFSDAY f
THURSDAY 7
FRIDAY C
1:30-3:30
1:30-3:30 on
10 am BSO
10 am - PSP
10 am - -SO
Seminar,
Seminar,
Closed
Closed
Cl osed
Mr. Swine
Hr. Swine
rehearsal
rehearsa"1
rehearsal
Hawthorne
Hawthorne
(Herhio)
( Oomi ssiona)
( Herbie 1
Cottane , THD
Cottage , THD
Shod, TWO
Chorl two
./ihjv , 1 .J
Shed, Two
Po on o
Doom ?.
1:30-3:30 nm
1:30-3:30 np
1-30-3:30 nm
7-30 nm **
7*30 nm **
Seminar ,
Seroirar ,
Seminar ,
rl octro-
Flectro-
Mr. Swine
f"V . Svh* ne
f'V. Swine
Acoustic
Acoustic
Hawthorne
Hawthorne
Hawthorne
Prelude I
°rel ude II
Cottage, TWD
Cottane „ T! 'o
Cottane T'-'n
Chamber Music
Chamber ’hi sic
Room ?
Onon ?
Poem 2
Hal 1 9 THO
Hall. T"D
a -on nm - nso
0»ne r,r _ non
Ct3n om **
8:30 nm **
Closed
Closed
Concert,
J u 11 1 iard.
rehearsal
rehearsal
TUC Fellows
Strine
(Herbie)
( Her hi o)
Theatre, Ton
Puartot
Shed, T’.-o
Shed, T’ 'P
Theatre, TWO
8:30 nm **
7*ee nrn **•
TMCO
FI ectro-
Oliver Knussen,
Acousti c
conductor
Prelude III
Theatre, T! 'P
Chamber Music
Hal 1 , T!,r'
St 3° npi **
Joseph Silvorstein,
viol in
Pntor ^ ->rki n ,
piano
Theatre, Ti'P
s^tuppay - s\mn ic
10 an»C?n
Onen rehearsal
(Comissi^na)
ChpH TWO
» . » i -w > 5 3
**de notes concert which is nart.
the Festival o-o Contennorary f'usic
BOSTON UNIVFP.SITY TFMCLFFOOO INSTITUTF
SIXTH I'FFK
***sppfT/\L n/p.'Tc:*** /'ur.iic.T P-]09 1036
MON. FTC. "
THFSOFY 5
WEbNFSDAY 0
TU'jpcn/' v 7
pn 1 n A v p.
A i on pp
7:30 on **
1:30-3:30 on
f • 00 pm
7:00 nn
Viola
Flectro-
‘Cello
In-House
Orel ude ,
Master Class,
/'•ecus tic
Master class.
Concert
The Conlev Tr-jp
Mr. Zarefcsky
Prelude II
Yo-Yo -Ma
Theatre, HSC
Shedj two
Theatre, W$C
Chanber ’’usic
Theatre, HSC
Hall, Ti'O
7:30 nm **
O-pp np - RCO
7; 30 np **
2:00 om
Flectro-
Cunther Herbie,
electro-
0:30 **
Open
F coustic
conductor
f.cousti c
Jui 1 1 iard
rehearsal -
Prelude III
vp-Yo-Ma , 'cello
Orel ude I
String
Hu ill iard
Charter F1usic
Shed, TMr>
Chanber Music
Ouartet
Ouartet
Hall, two
Hall , T,!D
Theatre, T’T
Chamber f’usic
Hall, TWO
P, • 30 np **
o • 3c ^p **
Joseph Sil verstein ,
T'T Follows
8:30 nm **
viol in
Theatre, Tun
Tripo
Peter Serkin,
Oliver Knussen,
piano
conductor
Theatre., TOO
1
Theatre, T!'D
SFTHPDFY r)
SHNOFY 1.0
10: 30 am - P.Sn
10 am- T?T Fellows
Coen rehearsal
Concert
(Comissicna)
Theatre, TWO
Shed, THP
2:3° nm - BSD
2:00 pm
Ser^i u Comi ssie-na ,
Isaac Stern F
conductor
Cho-L.iapr’ Lin,
Malcolm Levy?,
viol ins
viol in
r*ichap] Ty’OO 0
Burton Fine,
■cine Laredo,
Viola
viol a s
Shed, Ti'D
Yo-Yo -Ma *
Matt Haimovitz,
8-30 np
1 cel 1 i
Isaac Stern 0
Fmnnuel Fx,
Cho-Liano Lin, vio
ni 7 pp
Michael Tree 2
Theatre, two
Jaime Laredo, viol
Yr- -Yo -Ma 7
8 * 3n np - oso
Matt Haimovitz, '0
c-unther Morbid,
Emanuel Fx, piano
conductor
Theatre, THD
Kor*cie cut'iorre
9
r,i a no
TUP
• . 5 Ik'
**denotes concert which is ^art of the
Festival n»f Con tensor arv Music
BOSTOfl UNIVERSITY TANPLEWOCD INSTITUTE
SEVFNTH "FFK
YAIP
YOl'NP ARTISTS INSTRUMENTAL PROGRAM AUGUST 11-17, lno*
MON. AUG. 11
TUESDAY 12 WEDNESDAm-
THURSDAY 1*
FPIPAY 15
10:30 am-12 noon 10 am-12: 15 pm B.U.T.I. trin
9:20-17:15
9:?U-1°:!5
YfO, fir. nUG
YAO, to Boston A
YAO,
YAO, Mr. Ouc
West Barn, TWD
Mr. Silverstein Boston Univer-
Mr. Oue
West Barn, TWD
West Barn, TWD si t.v
”ost Darn, T"D
1:15-3:15 pm
1:15-3:15 nn
VAP Dross
1:15-3:15 pm -
1:15 - 3:15 nm-
Chamber "usic A
rohoarsal
Chamber Music A
Chamber Mus. A
1:15 np-
Theatre, T"D
1:15 nm -
1:15 nm -
Pass Fnsemblo
Bass Ensemble
Pass FnsnmMe
Parlour, WSC
8:30 nm - YAO
Parlour, ’’SC
Tarlnur, WSC
1 *15 nm- nerc.
Concert III
1:15 on -
Ensemble
Messrs. Ouo A
Perc. Ensemble
1 :30 pp
Livelv Stones, "CC
Sirota,
Lively Stone?, , WSC
Special Qossinn
conductin']
3:30-5 :3° nm -
for ALL VAIP
3:30-5 *3° nm
Theatre, TWD
Chamber Music B
Brass f Percussion Chamber Music
w Jth Mcl nroilc:
5 p>
3:30 nm
Theatre, "SC
Brass Ensemble
3:30 np-
1) Stein
3:00-5 *3° np
Brass Fnsemblo
2) Prey lock
Chembor Mus. R
3) Fiedler
6-7 nm
6 : 3R nm
YACP>
6:30 nm
In-House
Theatre, "SC
In-House
Concert
Concert :
Theatre, "SC
Alexander
Rozhdestvensky,
violin
Viktoria
Postni kova ,
piano
Theatre "SC
SATURDAY 15
SUNDAY 17
9 -2n-12 -1 5
9:3° am
YAO,
Percussion
Mr. Silver stein
Master Class
"est Darn, TWO
Mr. Smith
A :00 nm
Lively Stones, WSC
Special
In-House
7:00 pm
Concert for
Violin Master Class:
Y^-IR/YAVP
Mr. Silverstein
Harrow School
Theatre, WSC
BOSTON UNIVERSITY TANHLEWOOD INSTITUTE
YOUNG APTISTS ''OCAL PROGRAM
Ms. Joan Heller. Director
SEVFUTH WEFK
y r'/p
AUGUST 11-17, 1908
MON. AUG. 11
TUESDAY 12
WEDNESDAY 13
THURSDAY l*
FPiryw 15
0-10 am
9-10 am
9-10 am
9-1 n am
Q-10 am
voice lessons.
voice lessons,
voice lessons.
voice lessons.
voice lessons,
practice time
practice time
practice time
practice time
practice time
Lucy Booths
Lucy Booths
Lucv Booths
Luc" Booths
Lucv Booths
Harrow
Harrow
Darrow
Harrow
Harrow
0:^5-10:A5 am
9:45-10:45 am
9 :^5-10 r/1 5 am
°:A5-10:A5 am
10 am-12 noon
Theory A
Theory B
Theory A
Thcor' B
John Haber
Harrow
Harrow
Darrow
Darrow
Master Class
Theatre ,
10:45-11:30 am
10:45-11:30 am
10:^5-11 :30 am
1 o • /* 5 - 1 1 :3n am
Harrow
Recitation A
Recitation B
Recitation A
Recitation P
Da r row
Darrow
Darrow
Darrow
2 - A nm
Chorus
10-11:30 am
10-11:30 am
10-11:30 am
10-11-30 am
Fast Barn, TWD
Voice Class B
Voice Class A
Voice Class B
Voice Class A
Theatre,
Theatre ,
Theatre ,
Theatre,
Harrow
Darrow
Darrow
Darrow
1-3 pm
1-3 ^m
1-3 nm
1-3 pm
Chorus
Chorus
Chorus
Chorus
Fast Barn, TWD
East Barn, TVD
East Barn, TVD
East Barn, TWO
3-/1 nn
3-4
3 -A nm
3 -A pm
Sm. Fnscmble P,
Sm. Fnsemhlo C,
Sm. Fnsemble D,
Sm. FnsenMe C,
Madrinal Group,
Madripal Broun,
Madrioal Orou",
Madrinal Croun,
Diction C
Music Skills
Diction C
Diction n
fast Barn, T'*’P
Fast Barn , TWD
Fast Barn, TWD
Fast Barn, Tivn
f • 30 op:
0:15-7 om
A :ori om
r • 30 nn
Ooachino
Conductinp
YAVP Staff
Coachinn
Harrow
0:30 nm - YAP
Hpncert III
f:30 pm
Coach i no
Darrow
meetino
East Barn, TWD
5:15-7 nm
narrow
8:3° nn
Cantatas A
Mossr. Sirota.
8:30 nr - BSP
Composition
Concerti by
and Due,
Chamber Players
8:30 nm
Handel ,
conductina
Filbert Kalish,
Coach i n^
Vivaldi ••
Theatre, TWD
piano
Theatre, T''H
Darrow
8 : 3n pm - Tf^C-
Follows, Chamber
Music
Theatre, TWD
Marcello
Fmma Kirkb.y,
soprano
Christooher
Honwood ,
conductor
Theatre, TWO
WfWWTW~
SUNDAY
17
r :np
In-House
Concert
Little Theatre, Harrow
BOSTON UNIVERSITY TANPLEWOCD INSTITUTE
YOUNG ARTISTS COMPOSITION PROGRAM
Dr. Robert Sirota, Director
SEVENTH
AUGUST
i*'EFK YACP
11-17, 1°PC
MON. AUG. 11
TUESDAY 1? WEDNESDAY 13
THURSDAY 1^
FRIDAY IS "
9-11 am
Lessons: 1° am - P$R
10 am - PSO
Lessons :
Lecture:
13A Walker St., Closed rehearsal
Closed rehearsal 13a Walker St.
Dana Brayton
9-10 am Shed, TWO
Shed, TWO
°-lG am
A Marti Eostein,
Philip Ruokis .
TfTTT™ -TriD to
. ~ ( Boston-
day Krasnov'
Lawrence Hetrick
TMC Fallows hip
/* -p ry?,
in:irSm
Composers
Compositior
Philin Fdwards
Library, WSC
II"an-I?"noon A-5:30 nm
read inns
31 an-1? noon
David Shaoiro Theory
Library, WSC
Emily Gitkin
1:30-3:30 pm
P-3 pm V. Sirota
2-3 nm
Dress rehearsal
YAO
Leonard Lionnet Library, WSC
C ;30 nm
In-House
Andrea G-audettc
Theatre, TWD
3-A -m
Concert
G-7 nm
Lecture :
Theatre, *’'S0
Read i no
^-5:30 nm
Charles Fusscll ,
Orchestra
Theory
V. Sirota
Library, WSC
8:3° nm - YAO
Concert III
Messrs. Sirota
A Cue,
conductinn
Theatre, TUP
c-nnoser
Library, WSC
A-5:30 pm
Composition
read inns
Library, use
Theatre, WSC
■*★**★★*★**★+*+***■★★
SR* IN" PS A LECTURES
rv LEON KIPXHNER,
GILBERT KALISH °-
PI'VLLIS CURTIN
TO HE ANNWUCED
Saturday ie
SUMP/'Y 17
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
YOU NO ARTISTS PIANO PROGRAM
Or. Maria Clodes-Jaouaribe , Piroctor
SEVENTH
AUGUST
WFFK yapp
11-17, 1 n3G
MON. AUG. n
TUESDAY 13 WEDNESDAY 13
THURSDAY la
FPIPAY in
R:A5 am-
Theory A , B .tl.T. I .
1:30-5:30 nm
10 am - BSD
Theory A
B, Cs A p annual trip
Private
Closed
n:30 am-
Same as to Boston A
lessons :
rehearsal
Theory B
Monday Boston
A? Walker St.
Viktoria
10:15 am-
University
Postnikova,
Theory C
Private
A; 00 nm -PSO
piano
11 am-
lessons •
Closed rehearsal
Theory D
1:30-5:30 nm
Viktoria
3-5:30 nm
Study, WSC
r?. walker St.
Rostni kova ,
Master Class
3-5:30 pm
0:30 pm
piano
Shed, T"n
n Walker St.
faster Class
In-House
9:00 nm - BSO
r2 walker St.
Concert:
0
onnady
Alexander
Rozhdestvensky ,
0:30 om - YAO
Rozhdestvensky,
conductor*
Concert III
viol in
nrooram to
Messrs. Cue A
Viktoria
i ncl iide :
Sirota ,
Postnikov? ,
Tschaik^wsky
conductino
piano
Piano Concerto
Theatre, TWO
Or 30 nr-BSP
Chamber
PI avers
Gilbert Kalish.
piano
Theatre, HAD
£3
SATURDAY IE SUNDAY 17
8*30 pm - BSO
Ocnnady
Rozhdestvensky,
conductor:
to include:
Shostakovi tch
Concerto ffl for
Piano f; Trumpet
BOSTON UNIVERSITY T/mEMPop INSTJTl'TF
SF'T^Tf i-'FFK
pppc
empire brass n.’Gi'ST 11-17, iaao
MON. /TO. n TUES'n/'Y 12 OEDMFSD/'Y n THl’PSP/'Y K FPjrYY IS
9-9 : 30 am
warm-up
Q:30-ll :30 am
Ouintets
rehearsal s :
1) Fenway
2) Kenmore
3) Fiedler
r) Koussevitsky
F>) Prey lock
F) Stein
7) Copley Basement
8) Bunkhouse
°-9 : 30 am B.U.T.I. Trio
warm-up to Boston P
9:30-11 am Boston Univer-
Ouintets sity
Press rehearsals:
(8 locations)
1 :00 pr
Performance
Class
Theatre, ’JSC
9-9: 30 am
warm~uo
0 • 3^-11 :?0 am
Ouintets
rehearsals :
(8 locations)
1*30-3:30 nm
Soecial Session
for Pit B.l’.T.T
Brass f Percuss
with Mel Broil e
Theatre, '‘'SC
9-9:30 am
v'arm-u^
9:30-11:30 am
Ouintets
rehearsals *
(P locations)
3:30 pm - Open
rehearsal •
Fmoiro Brass:
on Koussevitsky
1:30-3:30 nm
f ’as ter coachinps
(same 8 locations)
3:30-5 pm
3:30 nn
Fmoiro nrass
Pnop rehearsal
Koussevitsky
Fmnire Brass
open rehearsal
Koussevitsky
8:30 nm - YfO
Concert III
Messrs. Sirota &
Ouo, conduction
Theatre, T"D
FT'TL'PD.ay 16 SUNDAY 17
1:00 pm
Recital *
Berkshire
Brass
Ouintet
Theatre, NSC
BOSTON UNIVERSITY
TANPIF'TPP INSTITi'TF
SFVFNTH '
'FFK 1 r
listfninp cnn run
LYSIS SEMINAR
CHOU ST 11
-17, lpBG
Peter Oram Swino,
Director
MON. /'.UP. 11
TUESDAY 1? WEDNFSPAY 13
THURSDAY V
FOTDAV IS
1:30-3:30 pm
1:30-3:30 om 10 am - BSC
10 am - BSD
in am - PSD
Seminar,
Seminar, Closed rehearsal
Closed rehearsal
Closed rehearsal
Ur. Sv»inq
Mr. Sv/ino (Rozhdestvensky)
(Honyfood)
( Dozhdestvnpskv)
Hawthorne
Hawthorne Shed, TUD
Shed, THD
Shed, T'T
Cottaoe, THD
Cottaoe, THP
Room 2
Room 2 1:30-3: 3D nm
1:30-3:30 nm
1:3D-3:3D pm
Seminar,
Semi nar ,
Seminar,
0:30 nm - YAC
Ur. Swino
Mr. Swino
Mr . Swi no
Concert III
Hawthorne
Hawthorne
Hawthorne
Messrs. Sirota &
Cottaoe, TUD
Cottaoe, TIT
Cottaoe, T'D
Ouo, conduct i no
Poom 2
Room 2
Coon ?
Theatre, TJD
T : 00 nm - pso
4*00 rp _ nep
Closed rehearsal
Closed rehearsal
(Rozhdestvensky)
( Rozhdestvonskv)
Shed, TUD
Shed, T'T
SATURDAY 16
SUNDAY 17
10:30 am - BSP
“J • on nrn
O^en rehearsal
Violin Master Class*
(HCOWOOd)
Mr. Silverstein
Shed, T'P
Theatre, USC
BOSTON UNIVERSITY TfNGLEWPPP IFLSTITUTF
SFV'FMTH ’TFK
***eppriCL RVFMTS*** mnuST 11-17, 1986
MPU. ClIG. 11
TUFSPCV 13
mvnm 1?
Thi'RSP/'V Id
FRinnV IV
1
C :3" nm
R.U.T.I.
1:30-3:3" nm
7 nm
1
In-House Concert
: annual trio
Snecial Session
Prelude :
f
Clexander
to Poston f
for CLL Y C IP/
Jerome Rosen,
1
Rozhdestvensky
, Boston
FBOS Brass and
viol in
1
viol in
University
Percussion with
Jonathan oilier.
1
Victoria
Nel "roiles
'cello
1
Rostnikova ,
8:30 nm
Theatre, USP
Pavid PeVoe,
0:3" nm - Y CO
niano
Chamber f'usic:
niano
Concert III
Theatre, USC
TNG Fell ov'S
5; 3" nm
S^ed. TMn
Ncssrs. Cue
0 Sirota,
8:30 pm - BSO
Theatre, TUP
In-House
Concert
0.00 nrl _ pen.
conductinn
Chamber Players
Theatre, USC
"onnady
Theatre, TUP
Filbert Kalish,
piano
Theatre, T',n
O . 90 ppa
Cantatas R
Concerti
Christonher
Hoawood ,
conductor
Theatre , T' ’P
nozhdestvensky ,
conductor
uiktoria
Postnikova. ,
niano
Shed, Twn
SCTURDCY 16
SUNPCY 17
ln*?o an -DSP
Oner rehearsal
Shed, TFT
2;°P nm-TMCO
Concert
Leon Kirchner ?•
Follows, conduction
THeatro, T^P
,0*30 np _ p$o
Gennady Rozhdestvensky 5
conductor
Viktoria Rostnikova,
niaro
Charles Schlucter,
t rum net
Shed, Tun
9:30 am
Percussion Uastcr Class:
Nr. Smith
Lively Stones, use
2:30 nm - CSC ft
TFC
Christopher Norwood ,
conductor
Shed, TWP
7*00 pm
Violin faster Class:
F-r. Silverstein
Theatre, VIS C
8 : "" nr?
Vocal Recital -T-T
Tel 1 ov's ,
Chamber P1usic Hall, TOP
POSTON UNIVERSITY TANGLFUOOD INSTITUTF
EIGHTH i-'FFK
v A J p
young ARTISTS INSTRUMENT/1 L PROGRAM
AUGUST
MON. AUG . r TUESW'IO TlDNFSDAY 20 THURSDAY 21
9:20-10:15 an-
10 am-12 : 15 op
9:30-10:45 ar
9:20-12:15
YAO, Mr. Due
YAO, Mr. Oue
YA9 sectionals
YAO, Mr. Oue
(Mendelssohn)
(Mendelssohn)
West Bam, ^
10:15-11 an-
Mr. Silvarstein
11 am-12: 15 op
T ,Tr . Silvers tain
West Bam, TWO
vao, Mr. aie
1:35 vn -
11:15-12:15-
1 : 15 pe
West Tam, TWO
Chamber
15*. Oue
Chapher ^bisic A
Hisic A
West Tam, DD
3 ; 29 rjrn
1:15 nn
3 : 30 rn -
Chapher T\isic B
Pass Fnsemble-
Charter
1:15-2:30 nr
Parlour, TTCC
T Aisle T
YAO Dross
8:30 np-VAD/YATP Derc. Fnsemble-
rehearsal
Concert IV
Livelv Stones
f' : 39 np
Messrs. Oue &
Messrs . Atherton
7
In~TTni.ise
Si] vers tain
Gue S- cilvarstein, 3:3° or -
Concert
Theatre ,
conducting
Trass Fns.
TFpj^tro , 7 Too
Theatre , 9t D
(3 locations)
3:30-5:30 or:
Pass Fnsenble-
3 : 30 nr -
parlour, T wo .
Snecial Reading
Bore. BpsernFIe-
Session For
Livelv Stones.
T-Tood'-ands
Grass Fnsemble-
(A- horns)
1) Stein
LPSF
2) prcylnch
3) Fiedler
FRIDAY 2? '
‘WoWcVoWo'cWo'oWob’cV
postow
^TTTTPPC’X'F.7
SCPOOU or HIFir
^TTpj'-r'jOTjq
° : 90 np-l 2 ; 1 5 or
\r^ o t ^
TJest rAm ,
3 :15 op -
P.OSS Fnscmhl.e-
Darlour , T fg
T*OrC. ^nqr-pRTp-
T F7n.lv ^ ton OS
1 • 1 S -pirr>
rTtppU op T 4qct c A
3 ; 90
Chamber T lisle B
*yo p,pASS
FNSTTWT.F TODAY*
0:30 rm-T.U.T.I.
Chamber Music
Concert III
Chapber Music
Fall , DD
SATURDAY 23 STJ.1TAY 24
Q:?° op-12: 15 op
YAO, Dr. Sirota
YACP Teadinrs
Dost Dam, D-D
BOSTON UNIVEPSITY TANGLEWOCD INSTITUTE
FIRHTH WEEK
VAVp
YOUfin ARTISTS VOC/’L P ROBOT
/''NOUS T 18-2A, lopr
Ms. Joan Ueller, Director
MON. Al'O. 18
TUESDAY 19
WEDNESDAY 20
THURSDAY 21 FRIDAY 22
9-10 ar
9-1° ar
■0
1
! 1
°-l° .am
9-1.0 fip
voice lessons,
voice lessors,
voice lessons,
voice loss^ns,
voice lessons,
nractice time
nractice tire
nractice tine,
nractice tire
nracti.ce tire
Lucy Booths
Lucy Booths
Lucv booths
Lucv Booths
Borrow
Barrow
Barrow
Barrow
Barrow
9:45-10:45 am
9:45—10:4-5 ar
0 : 45 - 1° : 45 ar
D:45 -10: 45 ar
Msmixio TA.
Theory A
Theory ?
Theory A
Theorv P
Barrow
Barrow
Barrow
Barrow
POPTPN
10:45-11:30 am
10:45-11 : 30 an
10:45-11:30 am
1° : 45-11 : 30 an
inTnTF'ocTT'7
cor toot no *ittctp
Recitation A
Recitation B
Recitation A
Recitation P
ATTOTTTOWC
Barrow
Barrow
Barrow
Barrow
10-11:30 an
10-11 : 30 ar
10-11:30 am
10-11:30 am
1 : 30-4 rn1
voicc Class E
Voice Class A
Voice Class R
Voice rlass A
Churns
Theatre ,
'Theatre ,
Th.eatro ,
Theatre ,
Fast Bam, 7VD
Barrow
Barrow
Barrow
Barrow
1-2:30 nr.
1-2:3° nn
1-2 nn
1-3:3° nm
Chorus warr-uD -
Madripal prouo,
, Pill Crofut
Chorus
Fast Bam, TIC .
Fiction B,
Snecial Tonics
East Bam, 7TAP
2:3°-3:30 rjn
Chorus Brass
Music Chills
Fast Bam,
Fast Barn, TT7T>'
2-3 ; 3° TT(1
3 : 30-4 ; 3° nr
Madrinal ptoud
y
Pdiearsal
2 ; 30-4 nr>
chorus
Fiction B
'Theatre, IT
Chorus
Fast hrr,
Fast Bam, 2TT)
3:45-4:10 nr
Richard Cass illy
Fast 17 am, M'TB
3 : 3°-4 : 3° np.
8 : 30 pr-YAO/YAICP Madri <\°1. oroun
6 ; 30 npi
, Coachinp
Introduction
Concert M7
Fiction C
Barrow
Cafeteria, rrr-TD ‘ Messrs. Atherton, Fast Pam, 'TTT>
Oue & Silvers tein ,
0 : 30 nr' - conduct inr
Coachinp Theatre, ITT'
Barrow
8:30 or-R.U.T.r.
4 : 30 nrn
YAVP Staf'O
reetinp
Fast Bam, TV7!)
Charber Hisic -
Concert III;
Chamber ^hsic
Fall, TMP
6:15-7 nr
Conoositi^n
6 : 30 nr
Goachinp
Barrow
10:30 ar - B.U.T.I. 2:00 nr - TMC-
^ocal Recital Vocal Recital
Theatre , Charter >/pusic Hall , TT,7P
Barrow
■ '
POSTON UNIVERSITY TANGLEWPOD INSTITUTE
EIGHTH MEEK
v/'pp
YOUrr- ARTISTS PIANO PROGRAM AUGUST 18-2/% l^r
Or. Maria Clodes-Jaouaribe , Director
MON . AUG. 18
TUESDAY in
V'F DUES DAY 20
THURSDAY ?l
FPin/'v o?
8:45 an:
Theory
10 an
10 an-1? : TO op
q an-1 ? n^op.
Theory P
A, B, C, &. D
Eurhvtlmics
BSC Closed
Press
9:30 an:
Sane as
Science Fldp. ,
rehearsal to
rehearsal
Theory E
Monday
Fern A
incl ude :
Theatre, T7Cc
10:15 an:
Beethoven-
Theory C
1:30-5:30 nn
10 an-12 : 30 nn
piane
11 an:
Private
BSC Closed
Concerto A1
^OCTOV
Theory D
lessons
rehearsal to
Shed, FT
T^.TT UI’DCTTV
Study, TFP
4-2 TTalker St.
include :
cniTooT on mjtqtc
Beethoven -piano
1:1.0 vp
ATTPTPr,TOl'T0
3-5:3° nn
7 "aster Class
A? Walter St.
s -°D nm-P IT T J
9 ; on tF-y-o/v a vp Concerto
Concert F7 Shed, F,7ri
Messrs . A therton ,
tim A- Silvers tein, 3-5:3° nn
conducti.no Master Cl ass
’nvaVo r. TJp1Vc?r
-rl'vSr -1 s VoWcWdWo’r^HWoV^V
Trith Chris tonher n r
3-5:30 ^
_ , c . j Master Class
Benches outside ^ TX;r
^ent mtt ' ,
Chanber 7*usic
Concert TTT
Chanber Music
Hall, TUD
Theatre , T7 70
42 T Talker St.
l . 00-5 : 3P np
pri vate
lessons
(>. 9 T-Talker ct .
8; 00 P-1
Christoph
Fs chenbach a.
Tzinnn Barto,
duo-nianists
Q • OP _ T5CO
Christopher
F schenhach ,
conductor and
piano :
to include:
Feethoven-'Pi ono
roncerto YC
^dy'TMp
Theatre , Fa7P
SATURDAY 23
SUNDAY
0 an- 12 noon
Dress
rehearsal
Theatre, WC.
f:00 pm - VAPP
Final Focital
Session. IT
TV' c* 770 ^
12 noon
Final Recital
Session TT
Theatre, W C
p : RO np - DSP
r^r is to^h s chenbach ,
conductor
mzinon Barto, Piano
to include : Ravel
Concerto in r
H'-ad, 'n*7T>
\ 1 «
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
FI PHTH WFFK
EROS
Ff’PIPF. BRASS SEMINAR
AUGUST 18-24, 1RRP
MON . AUF. 18
TUESDAY 19
HEPNESPAV 20
THUPSnAv 21
FRIPAY 2?
9-9:30 am.
9-9:30 am
9-9:30 am
9-0 ; 30 an
rarp-iF
warm-un
warm-un
warm-un
nOpTOT.T
9:30-11:30 am
9:30-11:30 am
9:30-11:30 am
9:30-11:30 am
I.frpmPFT'm^
Ouintet
5tet.s Press
5tet rehearsals
5tet rehearsal
s SCHOOL -°f
rehearsals :
rehearsals :
(8 locations)
(8 locations)
nisjc
1) Fenwav
(8 locations)
.AJFWFTOMS
2) Kenmore
3) Fiedler
1:00 om
1:30 am
Lecture ;
1:30-3:30 on
Master
Vn'oWr/nWw— l-’nWr/V
A) Koussevitsky
Performance
Pnbert Osmun,
coachinrs
o n . an -m
5) Orevlock
0 Stein
7) Conl^v Fasement
8) Tunkhouse
Class
Cafeteria, T7SC
8:30 nr
YAO/YAW
Master Press
Technician
3 : 3P1 -nri
Ffrnire Frass
(<? locations)
wam-i m
O; 30-]] • 30 am
5tet rehearsals
(9 locations)
1 : 30-3:30 nm
Master
coa chines
Fsame 8
locations)
Concert TO7
Messrs .
Atherton, hie
& Silverstein,
conducting
Theatre, IT'D
P^or rehearsal
Lous so-' n. t sky
1:30-3:30 nr
Master
coachings
(8 locations)
3 : 39 nm
Fmire Trass
P^en rehearsal
I9nussevitskv
8:30 m-B.U.T.I.
Oiamber I Lisle
Concert III
Chamber Music
Hall, TIP)
^bWon-T/TCTi TIT7 CLOSIMO DAYS SOW)! ILF FQP ACTIVT.TIFS TFIOLT.nTin ALT.
p, . lT . T . I . PLASH PLAY
RnSTOf! UNIVERSITY TANGLFWOOD INSTITUTE
EIGHTH WEEK
l ?■ a
LISTENING AND ANALYSIS SEMINAR
AUGUST 1D-2A, logr
Peter Gran Svinq, Director
MON. AUG. 18
TUESDAY 19
WEDNESDAY 20
THURSDAY 21
1:30-3:30 pm
1:30-3:30 nn
10 am-BSO
10 am-PSC
Seminar ,
Seminar,
Closed rehearsal
Closed
* Tr . Swinp
Mr. Swine
(Eschenbach)
rehearsal
Ilawthorne
Hawthorne
Shed, THD
(Eschenbach)
Cnttape, TMD
Cottars, TrT0
Shed, nT7F
Room 2
Poop 2
1:30-3:30 np
Seminar ,
l:3G-3:30 nn
Q;30 um-B.IT.T.I.
8:30 pp-YAO/yAVP Mr. Swing
Eeminar ,
Chamber ^Tisic
Concert IV
Hawthorne
Mr. ‘Vrfnp
Concert III
Messrs. Ahtcrtnn, Cot tame, 'F’R
Far -Thorne
Ghamhor Thisic
Cue Ac Silver st
e in , noor 2
Cottage , rE,70
rail, ^
conduct inp ;
P<~inm 2
Joseph Silverstein,
violin
Theatre TM0
A: GO Tp-poo
Closed rehearsal
(Eschenbach)
Shed,
SATir>o/y 73
SUNDAY ?A
10:30 ar-BSO 10 an-?S°-
Onen. rehearsal Closed rehearsal
(Eschenbach) (Bychkov)
Shed, TOD Shed, TMD
FDIDAV ??
pne/Tny
HTEVF^STTv
srrmL or music
AUOITTO^S
iddddddddddddddck
10 am-BSO
Closed rehearsal
(Bvchkov)
PV>pJ ttttn
1:30-3: 00 np
Seminar ,
Mr. Swir0:
war*7thcme
Onttaee , T>
Pnop 2
BOSTON UNIVERSITY T/TGLEt'Pnn INSTITUTE*
FIPHTH I'FFK
★** FFFCIh FVFf,TS *** n( 'RI !ST IR-?/*, 1 oor
MOM. AUO. 1<°
TOES HZ' Y 19 WEDNESDAY ?0
THI'RSPFY ?\
FRIpry ??
8:30 rn~B.U.7.I.
S:30 prr-YAO/YAVP '
6 : 3C on
7 ; 00 rfn
Charter Music
Concert IV '
Tn-Fouse
Yrelude :
Concert III
Messrs . Atherton , '
Concert
Cho-Lian" Lin,
Chamber >*u.sic
Cue A C livers teir- ?
Theatre, WSC
violin
Hall, IT.td
conducting ;
Joseph 0 livers tein, ’
8 : 80 np
Shed,
violin ’
Chris tonh
o.no pn, ren
Theatre, OT
Fschenhach A
rhris to^h
!
Tzinon Parto,
Fschenhach ,
Ti'-irp ' -
duo ^ianists
conductor A
Oennnd^
Reohdestvcnskv c-
Pel loros ,
conducting
Theatre , Trin
"hea tre , or.m
soloist (niaro)
^hod, rTTiT0
PITYAV 24
10:30 an-bS0
10 an - TKC
Open rehearsal
Chanber Music
Senvon. Bychkov,
conductor
Theatre, TT7F
Phed, V:V
12 noon - YAPP
Final Pecital
7 :00 m - Tf-TC
cession II
Vocal Felloros
Recital
Theatre, TTSC
Chamber -Aisle
2:30 nm. - pco
Fall, TWD
Tzinon Farto,
conductor
00 m-YAPF
Cho-Liary Lin,
Final Recital
violin
Session II
Theatre, T-FC
Phed, Tvn
0:30 i-n _ T?Tf>
P . aO tth— p,CO
Chanber Music
Chris tooh
Fschenhach ,
conductor
Tziron Farto,
niano
Oh.ed RMD
^eetro , T-FC
BOfTCfl UNIVERSITY TANCLETOD DESTITUTE CLOSING CAYS 1986
TUESDAY , AUGUST 20
YAIP
YAIT oon' t
YAVT
9:00-9:50
8:30 pn
10-00-11:15
y ao/rrc
7J1 Brass call
Chorus
Nr. Fleisher
T.O.P. Dress
Area outside Shed
Darrcw Theatre
Rehearsal
8:30 pm
Shed Stage , TTD
YAO/TM3 call
^ *30
Chorus Marr>-up Rncm
Chorus Call
10:00-12*15
Shed, TIB
(.area behind shod)
YAO
8:40 pm
Mr. Cue
Fanfare
5:00
I lest Pam
Mr. Daval
Chorus Concert
2:00
Shed Stage, TIT)
Shed. Stage, TD
Orchestra Call
9:00 pm
EP
Chorus TTarn-up Docn
YAO,T?C
Sied, ID
Mr. Fleisher
8:30 pm
Shed , HO
All Brass call.
2:30
area outside shed
YAO Concert
Mr. Oue, Conducting
1
Shed, TIT)
************************************
8 "40 pm
Fanfare
Cnp
iDkJZ.
Mr. Daval
5:00
T.O.P.
Shod Stage,- HT)
BUTI Chanter Music
SCHEDULE
Chanter Music Hall, TI'D
FOR SFECLTL
EVTNTS !
***** ************* ****** ****** ******
bostcn university tanglewuod imsttitote closiuo days ipso
MOTDAY, AUnUfT 25
YAIP
YAVP
YACP
10:00-11:00
9:30-11:15
9:30-11*00
YAO/IT'C
Chorus,
Lecture
Mr. Fleisher
Darro; Theatre
Oliver Knussen
Shed Stage, TtD
Library, w SC
11:15-12:15
1:00-2:00
1:00-4:00
Y AO
Chorus,
Lessons
Mr. One
Fast Bam, T^D
134 Walker St.
Vbst Dam, TOD
(see schedule posted)
1:00
2 : 30-3 : 45
YAO/ED Dress
Chon as
ED
Strauss Fanfare
T.O.P. Dress
Hr. Daval
Pehearsal
9*30
Shed Stage . rFD
Shed Stage, TTD
Final Perfornance
Class and Closina
4:00-5*00
Geranonv
YZO
*■*■**★**★■*******★*•*******
Theatre, WRC
Mr. One
BUTI
T.O.P. Dress
CIFHFER MUSIC
1:00
Dehearsal
caiaisr iv
YAO/FP Brass
Shed Staae, I"!)
aiAMFSFP. TTJSIC FALL,
.Strauss Fanfare
Mr . Daval
8:30 pn
***********************
Shed Staae, 'FT)
2 : 30 Mucnzinger Ouintet
T1ith Chorus
Shed Staae , TTT)
Tanglew®d Music Center
BOSTON UNIVERSITY TANGLE WOOD INSTITUTE
YOUNG ARTISTS ORCHESTRA
EIJI OUE, conductor
Monday, July 14, 1986 at 8:30 p.m.
Theatre-Concert Hall
VERDI
OVERTURE TO "LA FORZA DEL DESTINi
STRAVINSKY
THE
FAIRY'S KISS: DIVERTIMENTO
I
Si nfonia
Andante-Al learo sostenuto
II
Danses Suisses
Tempo aiusto-Val se-Tempo I
III
Scherzo
IV
Pas de Deux
Adagio
Variation-All enro grazioso
Coda-presto
- INTERMISSION -
BERLIOZ SYMPHONIE FANTASTIOUE, OP. 14
I Reveries--Passions (Dreams, Passions)
Largo-Allegro agitato e appassionato
assai-Tomno I - Rol iaiosamonte
II Un Bal (A ball)
Val.se: Allegro non tronpo
III Scene aux chamos (Scene in the country)
Adagio
IV Marche au supplice (March to the scaffold)
Allegretto non tropoo
V Songe d’une nuit du sabbat (Dream of a
Witches' Sabbath)
Larghetto-All egro-Ronde du Sabbat
For the past twenty-one years, the Boston University Tanglewood Institute has
been a summer program of Boston University and the Tanglewood Music Center. The
Institute includes five Young Artists Programs for high school students (Instru-
mental, Vocal , Piano, Composition, and Quartet) and five Institute Seminars for
college and high school students (Flute, Harp , Empire Brass, Listening and Analysis ,
and Applied Music Study). Many of the Institute's students receive financial
assistance from funds contributed by individuals, foundations, and corporations to
the Boston University Tanglewood Institute Scholarship Fund .
The Friends of Music at Tanglewood,, an organization of music lovers and patrons,
generously support the operation of the Tanglewood Music Center. Friends are in-
vited to all concerts of the Tanglewood Music Center with a Family Season Member-
ship of $60, or an Individual Season Membership of $40. Others attending each
TMC event are asked to contribute a minimum of $5 at the gate, and $6 for
orchestra concerts.
The Tanglewood Music Center is also supported by a grant from the National Endow-
ment for the Arts.
BALDWIN PIANO
BOSTON UNIVERSITY TANGLE WOOD INSTITUTE YOUNG ARTISTS ORCHESTRA
FIJI OUE, conductor
First Violins Cellos Horns
Emma Shooks concertmaster
Monisha Seth
Sonia Jun
Fredrick Ripley
Giqi Turgeon
Beth Lambert
Cassandra Cherry
Kim Toro
Nina Basescu
Helena Edelson
Fred D'Ursel
Elizabeth Monroe
Anna Gravenhorst
Natasha Ensign
Gabriel Wilson
Allan Fncstrom
Roksana Kaczmarek
Second Violins
Rebecca MacKinnon
Sabrina Berger
Shelley Rich
Cynthia Moon
Alicia Huang
Jeremy Williams
Trevor Orthman
Charles Gunsaullus
Gabriel le Robinson
Derek Walloon
Scott Facher
Margaret O'Connell
Jean Bennett
Katrin St. Clair
Sarah Abramowicz
Violas
Kirsten Docter
Young Park
Joan DerHovsepian
Erica Sevetson
Kristen VanKirk
Catherine Conroy
Jane Perera
Michael Sylvester
Tracy Farrell
Aimee Pi cc hi
Barbara Blank
Russell Wright
Kit Heller
David Huff
Sonna Kim
John Landefeld
Jason McComb
Chris Schnell
Laurie Arnold
Kirsten Kessler
Melinda Spencer
Allen Alexander
Paul Floury
Aron Rider
Christopher Rankin
Michelle Beauchesne
Dina Shek
Leslie Friend
Basses
Tracy Rowell
Marc Schmied
Jeffrey Weisner
Earl Fay
Christopher Clark
Gilbert Trout
FI utes
Laura Barron
Heidi Julien
Shannon Waddle
Reva Younostein
Oboes
Andrei; Adel son
Barbara Bishop
Doug! as Drachman
Peter Smith
Clarinets
Michelle Doyle
Gregory Mallek
Patrick Leyden
Christopher Schubert
Bassoons
Peter Mandell
Julia Busline
Daniel Shelly
Steven Vacchi
Ruben Capri les
Fuaene Kierman
Andrew Halberstadt
Steven Reploale
Derek Ross
Trumpets
Sarah Lester
Marlon Jordan
Jacob Sloane
Sean Walsh
Trombones
Daniel Balsam
Joel Borrelli
Kevin Roberts
Tuba
Matthew Gaunt
Percussion
James Boznos
Gerald Dowd
Michael Garasi
Richard Graber
Thomas Sessa
Haros
Hank Whitmire
Claudia Valsi
Orchestra Manager
Asadour Santourian
Asst. Orchestra Mananor
Phil ip Maffa
Orchestra Librarian
Kathleen Osborne
Stage Manager
Thomas Vignieri
Special thanks to Messrs . Silverstein3 Voisin3
Feldman 3 Gauger 3 Martin 3 Ruggiero 3 and Zai'etsky
for their valuable contribution in preparing
this concert.
Tanglew(©d Music Center
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
CHAMBER MUSIC CONCERT
Sunday, July 20, 1986 at 8:30 p.m.
Chamber Music Hall
STRING TRIO IN C MINOR, OP. 9 NO. 3 LUDWIG VAN BEETHOVEN
Allegro con spirito
Hawthorne Trio
Amy Oshiro, violin Raea Leinster, viola
Douw Fonda, cello
Norman Fischer and Holly Morrison, coaches
QUINTET FOR BRASS EDWARD GREGSON
Andante sostenuto - Allegro scherzando
Allegro, mol to ritmico
The Brass Menagerie
Janice Gibbs, trumpet Einar Jonsson, trumpet
Robert McClure, horn Bryan Meek, trombone
Brett Stemple, tuba
QUINTET, OP. 79 AUGUST KLUGHARDT
Allegro non troppo
Allegro vivace
Laura Barron, flute Chris Schubert, clarinet
Andrew Adel son, oboe Steven Vacchi , bassoon
Eugene Kierman, horn
Matthew Ruggiero , coach
- Intermission -
STRING QUARTET IN D MAJOR , K. 575 WOLFGANG AMADEUS MOZART
"Prussian"
A1 1 egretto
Andante
Menuetto: Allegretto
All egretto
Thoreau String Quartet
Lynne Haggard, violin Kristine Kolbinger, violin
Gil Penchina, viola Ben Wolff, cello
Norman Fischer and Holly Morrison, coaches
This evening rs performers are enrolled in the following
Boston University Tanglewood Institute programs :
YOUNG ARTISTS QUARTET 'PROGRAM
EMPIRE BRASS SEMINAR
YOUNG ARTISTS INSTRUMENTAL PROGRAM
For the past twenty-one years, the Boston University Tanglewood Institute has
been a summer program of Boston University and the Tanglewood Music Center. The
Institute includes five Young Artists Programs for high school students
(Instrumental, Vocal, Piano, Composition, and Quartet) and five seminars for
high school and college age students (Flute, Harp, Empire Brass, Listening and
Analysis, and Applied Music Study). Many of the Institute's students receive
financial assistance from funds contributed by individuals, foundations, and
corporations to the Boston University Tanglewood Institute Scholarship Fund.
The Friends of Music at Tanglewood, an organization of music lovers and patrons,
generously support the operation of the Tanglewood Music Center. Friends are
invited to all concerts of the Tanglewood Music Center with a Family Season
Membership of $60, or an Individual Season Membership of $40. Others attending
each TMC event are asked to contribute a minimum of $5 at the gate, $6 for
orchestra corlcerts.
The Tanqlewood Music Center is also supported by a grant from the National
Endowment for the Arts.
BALDWIN PIANO
Tanglew(©d Music Center
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
CHAMBER MUSIC CONCERT
Monday, July 21, 1986 at 8:30 p,m.
Chamber Music Hall
PARTITA FOR WIND QUINTET ’ IRVING FINE
Introduction and Theme
Variation
Interl ude
Heidi Julien, flute Douglas Drachman, oboe
Patrick Leyden, clarinet Daniel Shelly, bassoon
Andrew Halberstadt, horn
Craig Nordstrom , coach
INTERPLAY MICHAEL HORVIT
Young Artists Percussion Ensonble
James Boznos Gerald Dowd
Richard Graber Tom Sessa
Thomas Gauger > coach
- Intermission -
VIER GESANGE FUR FRAUENCHOR, JOHANNES BRAHMS
ZWEI HORNER UND HARFE , OP. 17’
Es tont ein voller Harfenklang
Lied von Shakespeare
Der Gartner
Gesang aus Fingal
Young Artists Vocal Program W 'men's Chorus
Leonard Atherton, conductor
Hank Whitmire, harp
Andrew Halberstadt and Robert McClure, horns
STRING QUARTET IN D MAJOR, K. 575 . WOLFGANG AMADEUS MOZART
"Prussian"
Allegretto
Andante
Menuetto: Allegretto
A1 1 egretto
Thoreau String Quartet
Lynne Haggard, violin Kristine Kolbinger, violin
Gil Penchina, viola Ben Wolff, cello
Norman Fischer and Holly Morrison 3 coaches
This evening ’s performers are enrolled in the following
Boston University Tanglewood Institute programs:
YOUNG ARTISTS INSTRUMENTAL PROGRAM
YOUNG ARTISTS VOCAL PROGRAM
EMPIRE BRASS SEMINAR
YOUNG ARTISTS QUARTET PROGRAM
YOUNG ARTISTS VOCAL PROGRAM WOMEN'S CHORUS
Leonard Atherton, conductor
Rebecca Brown
Beth Clayton
Ellen Cohan
Tanya Colangione
Clarice Evans
Nancy Ginstlinq
Tamara Hardesty
Kathleen Hendry
Heidi Isenberg
Dauri Kennedy
Beth McIntyre
Kathryn O'Rourke
Beth Salm
Rebecca Skupin
Erika Yamada
Bill Cutter, Assistant Conductor
Perrin Allen, Rehearsal Pianist
For the past twenty-one years, the Boston University Tanglewood Institute has been
a summer program of Boston University and the Tanqlewood Music Center. The
Institute includes five Young Artists Programs for high school students (Instru-
mental, Vocal, Piano, Composition, and Quartet) and five seminars for high school
and college age students (Flute, Harp, Empire Brass, Listening and Analysis, and
Applied Music Study), [ferny of the Institute's students receive financial
assistance from funds contributed by individuals, foundations, and corporations to
the Boston University Tanglewood Institute Scholarship Fund.
The Friends of Music at Tanglewood, an organization of music lovers and patrons,
generously support the operation of the Tanglewood Music Center. Friends are
invited to all concerts of the Tanglewood Music Center with a Family Season
Membership of $60, or an Individual Season Membership of $40. Others attending
each TMC event are asked to contribute a minimum of $5 at the gate, $6 for
orchestra concerts.
The Tanglewood Music Center is also supported by a grant from the National
Endowment for the Arts.
BALDWIN PIANO
Tanglew(©d Music Center
BOSTON UNIVERSITY TANG LEWD ftp INSTITUTE
YOUNG. ARTISTS CHORUS
YOUNG ARTISTS ORCHESTRA
Saturdays July 26 3 1936 at 2:00 p.m.
Theatre-Concert Hall
BRAHMS
SCHICKSALSLIEDs OP. 54
fur Chor und Orchester
STANFORD SONGS OF THE FLEET s OP. 117
for Baritone’s Chorus, and Orchestra
Sail inn at Dawn
The Scno of the Sou'wester
The Middle Match
The Little Admiral
F a re We 1 1
Benjamin Luxon, baritone
Leonard Atherton , conductor
- Intermission -
BRAHMS
SYMPHONY MO. 2, OP. 73
Allegro non troppo
Adagio non troppo - L'istesso tempo,
ma grazioso
Alleoretto grazioso (Quasi Andantino)
Presto na non assai - Tempo I
A1 1 egro con s pi ri to
Fiji Oue , conductor
For the past twenty-one years , the Boston University Tanglev/ood Institute has been
a summer program of Boston University and the Tanglev/ood Music Center. The Insti-
tute includes five Young Artists Programs for high school students (Instrumental ,
Vocal , Piano , Composition , and Quartet) and five Institute Seminars for high school
and college students (Flute. Harp , Empire Brass, Listening and Analysis , and
Applied Music Study). Many of the Instituted studen.ts receive financial assistance
from funds contributed by individuals , foundations , and corporations to the Boston
University Tanglev/ood Institute Scholarship Fund.
The Friends of Music at Tanglev/ood , an organization of music lovers and patrons,
generously support the operation of the Tanglewood Music Center. Friends are in-
vited to all concerts of the Tanglewood Music Center with a Family Season Member-
ship of $60, or an Individual Season Membership of $40. Others attending each TMC
event are asked to contribute a minimum of $5 at the gate, $6 for orchestra
concerts .
The Tanglev/ood Music Center is also supported by a grant from the National
Endowment for the arts.
BALDWIN PIANO
BOSTON UNIVERSITY TAN OLE WOOD INSTITUTE
YOUNG ARTISTS ORCHESTRA
Eiji Quo, Conductor
(Winds* Brass, and Percussion listed alphabetical! y)
Violin I
Cello
Horn
Roksanna Kaczmarek, concertmaster
Jason Me Comb
Ruben Capri les
Sonia Jun
Aren Rider
Eugene Kierman
Rebecca MacKinnon
Kirsten Kessler
Andrew Hal berstadt
Shelley Rich
Muffin Snencer
Steven Reploole
Emma Shook
Sonna Kim
Derek Ross
Nina Basescu
Paul Floury
Sabrina Berger
John Landefeld
Trumpet
Fred D'Ursel
Dina Shek
ScGtt Facher
Chris Schnell
Sarah Lester
Charles Gunsaullus
Leslie Friend
Marlon Jordan
Alicia Huang
Allan Alexander
Jacob Sloane
Jeremy Williams
Chris Rankin
Sean Walsh
Cynthia Moon
Laurie Arnold
Derek Wallach
Michelle Beauchesne
Trombone
Kim Toro
Elizabeth Monroe
Bass
Daniel Balsam
Joel Borrelli
Jeff Weisncr
Kevin Roberts
Violin II
Tracey Rowell
Christopher Clark
T uba
Gigi Turgeon
Marc Schmied
Cassandra Cherry
Gil Trout
■Charles Vi 1 larubi a
ilonisha Seth
Earl Fay
Beth Lambert
Holly Edelson
FI ute
Percussion
Natasha Ensign
Gabriel Wilson
Laura Barron
James Boznos
Fred Ripley
Heidi Julian
Gerald Dowd
Anna Graven hors t
Shannon Waddle
Michael Garasi
Jean Bennett
Reva Youngstein
Richard Graber
Sarah Abramcv/icz
Thomas Sessa
Trevor Orthman
Oboe
Allan Engstrom
Margaret O’Connell
Andrew Adel son
Orchestra Manager
Katrin St, Clair
Barbara Bishop
Ga briello Robinson
Douglas Drachma n
Asadour Santourian
Viola
Peter Smith
Asst. Orchestra Manager
Clarinet
Philip Maffa
Joan DerHovsepian
Jane Perera
Michelle Doyle
Orchestra Librarian
Young Park
Grocery Mai 1 ok
Kristen van Kirk
Patrick Leyden
Kathleen Osborne
Kristen Doctor
Christian Schubert
Erika Sevetson
Staae Mananer
Michael Sylvester
Tracey Farrell
Bassoon
Thomas Vinnieri
Barbara Blank
Aimee Picchi
Peter Handel 1
Kim Conroy
Julia Ruslinn
David Hu ft
Daniel Shelly
^Empire Brass Assistant
Kitty Heller
Steven Vacchi
Russell Wright
Special
thanks to Mr. Voisin
for his valuable contribution in preparing
this concert .
The Concerto for Orchestra by Bartok will be performed Monday, August 11 at 8-30 pm
in the Theater-Concert Hall at Tanglewood.
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
YOUNG ARTISTS VOCAL PROGRAM
Joan Hell or 3 Director
YOUNG ARTISTS CHORUS
Leonard Atherton, Conductor
*Perrin Allen
Laura Althoff
Paul Armstrong
Mary Ashley
Cole Bader
Elissa Beach
*Valerie Becker
Dana Behr
Wendy Braun or
Rebecca Brown
Andrea Carnevali
Laura Clayton
Ellen Shari Cohen
Tanya Colangione
*William Cutter
Clarice Evans
Karen Frankenstein
Stacey Frederick
Katherine Gamble
Nancy Ginstling
Lara Goitein
Rachel Gorman
Juli Hansen
Tamara Hardesty
Kathleen Hendry
*Nan Hughes
Heidi I sen berg
Dauri Kennedy
Karin Kittay
Dominic Kollasch
*Kat hryn Komi da r
Annette La Cass e
Mark Levi son
Kristin Loiacono
Scott McCombs
Elizabeth McIntyre
Todd fliller
Michael Mill in
Max Nomi
Kathryn O'Rourke
Timothy Ostendorf
John Peitso
George Pena
Leslie Pessa
Heidi Rothauser
Beth Salm
Emily Sinner
Stephanie Singer
Rebecca Skunin
f la hi on Stewart
John Tedeschi
^Patricia Thom
Teresa Torstenbo
Heather Warren
Erika Yamada
^Member, Young Artists Vocal Program Staff
YOUNG ARTISTS ORCHESTRA
(Schicksal si ied and Songs of the Fleet)
Violin I
Cello
Bassoon
Cassandra Cherry
Laurie Arnold
Peter Mandell
Sabrina Berger
Chris Rankin
Julia Ruslinq
Alicia Huang
Paul Fleury
Daniel Shelly
Kim Toro
Allan Alexander
Steven Vacchi
Natasha Ension
Dina Shek
Katrin St. Clair
Leslie Friend
Horn
Jeremy Williams
Chris Schnell
Margaret O'Connell
Michelle Beauchesne
Ruben Capri les
Derek Wallach
Kirsten Kessler
Fuaene Kierman
Trevor Orthman
Muffin Spencer
And rew Ha 1 her s t ad t.
Scott Facher
Steven Replonle
Charles Gunsaullus
Bass
Derek Ross
Viol in II
Gilbert Trout
Jeff Weisner
Trumpet
Shelley Rich
flare Schmied
Sarah Lester
Fred D'Ursel
Christooher Clark
Marlon Jordan
Emma Shook
Tracey Rowell
Jacob Sloane
Gabriel Wilson
Beth Lambert
Earl Fay
Sean Walsh
Anna Gravenhorst
Nina Bascscu
Flute
Trombone
Allan Eng strom
Laura Barron
Daniel Balsam
Holly Edelson
Heidi Julien
Joel Sorrell i
Cynthia Moon
Shannon Waddle
Kevin Roberts
Elizabeth Monroe
Rcva Younnstcin
Fred Ripley
Oboe
Tuba
Viola
Charles Villarubia
Kristen van Kirk
Michael Sylvester
Russell Wright
David Huff
Kim Conroy
Kitty Heller
Aimee Picchi
Jane Perera
Tracey Farrell
Barbara Blank
Andrew Adel son
Barbara Bishop
Douglas Drachman
Peter Smith
Cl ari net
Michelle Doyle
Gregory Mall ck
Patrick Leyden
Christian Schubert
Percussion
James Doznos
Gerald Dowd
Michael Garasi
Richard Graber
Thomas Sessa
Harp
Hank Whitmire
Claudia Valsi
SCHICKSALSLIFD
(Sona of Fata)
Music hv Johannes nrahms
Text by Friedrich Hnlderlin
Ihr wandelt droben in lie ht
Auf wiechem Boden, selige Genien!
Glanzende Gotterlufte
Ruhren Euch leichts
Hie die Finger der Kunstlerin
Heilioe Saiten.
Schicksallos , wie der schlafende
Saugling, atmen die Himmlischen;,
Keusch bewahrt
In bescheidner Knospe
Bluhet ewin
Ihnen der Geist,
Und die celioen Auoen
Blicken in stiller,
Ewiqer Klarheit.
Doch uns ist gegeben
Auf keinor Statte zu ruhn;
Es schv/inden, es fallen
Die leidenden Men sc hen
Blindlings von einer
Stundo zur andern,
i !i e l 'asser von K1 i pne
Zu Klippe geworfen,
Jahrlang ins Unoev/isse hi nab.
You wander above in the light
On soft ground, blessed spirits.
Shimmerino winds of the nods stir
lightly over you
Like the fingers of an artist
on his holy lyre.
Free from fate, the immortals breathe
like a sleeping infant.
Preseved as chaste buds, their spirit
blooms forever
And their blissful eyes naze into calm,
eternal briohtness.
Yet we will never have a dwelling plac
It disappears; judnement has been pass
noon sufferinn men to wander
blindly from one hour to the
next.
Like water thrown against the cliffs
Hurled downward for eternity into
uncertainty and darkness.
epucs OF THF FLFFT
Music by r.v. Stanford
Texts by Henry Mewbolt
Sir Charles V. Stanford ( lp>G?-lQ?/i) held the positions of Professor of ’\!si c at
Camhridno and rrofesspr of Composition at the Poyal Col lone of Music in L°nHon
sinul taneousl v for nearly fc vears. His students read like a roll-call of the
Greatest names in early °nth Century Fnnlish music* Raloh Vaunhan Milliams,
rustav Hoi st , John Ireland, and Beniamin Britton's teacher, Frank Bridge.
The o noninn s°nn, "Sailing at Pawn" is a calm and gentle sett inn of the poetry,
alluding to the slapping of waves aoainst the side of a ship.
"The Sonn of the Sou 'Hesters" is a stormy niece in which the force of the waves
and the whistling of the wind are very apparent.
"The Middle Match" is an extraordinary movement. Tho chorus (fleets) seems to
float on an orchestral swell (the sea). Stanford uses a nefussian orchestration
which calls for f inner trills on the timpani -- an effect worthy of the con-
ductorial inanimation of Mahler.
"The Little Admiral" is nationalistic poetry in a sotting wtich is unabashed! y
from the Gilbert and Sullivan tradition. There are tv*o allusions to British naval
history in the text. The first, regarding the Admiral who had one uniform sleeve
"pinned across his breast," refers to Admiral Lor^ Nelson. The second recalls
tuat Sir Francis Brake was playing "Long (or Lawn) Bowls" when ho was given news
of the sighting of the Spanish Armada (1588). Sir Francis finished the name (the
rubber) before dealing with the threat.
"Fare Hell" is a lament for those lost at sea while defending the liberty of those
on shore. Tho final "Mol to Adagio" is Manner i an in concent anH grandeur, bringing
the final lines of the noetry to a triumphant conclusion.
I onna.rd Atherton
O CJ
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
YOUNG ARTISTS ORCHESTRA
Eiji Oue and Robert Sirota, conductors
Monday, August 11, 1^86 at 8:30 p.m.
Theatre-Concert Hall
BEETHOVEN CORIOLAN OVERTURE, OPUS 62
EIJI OIT" , conductor
SCHOENBERG FIVE PIECES POP ORCHESTRA, OPUS 16
I Vorgefuhle (Premonitions)
II Vergangenes (Yesteryears)
III Sommermorpen an einem See
(Summer Mo mine by a Lake)
IV Ferine tie (Peripetia)
V Das obligate Rezitativ
(The Obligatory Recitative)
ROBERT SIPOTA , conductor
- INTERMISSION -
BARTOK CONCERTO FOR ORCHESTPA
I Introduzione : Andante non troo^o*
Alleero Vivace
II Ciuoco delle copie: Allegretto
scherzando
III Elepia" Andante non tropno
IV Intermezzo interroto* Allegretto
V Finale* Fesante: Presto
EIJI OUE, conductor
Special thanks to Messrs . Voisin, Beaulieu , Feldman,
Gauger, Martin, Ruggiero and Zaretsky for their
valuable contribution in preparing this concert.
For the vast tv/entu-one uears , the Boston University Tanglcwood Institute has
been a summer program of Boston University and the Tanglewood Music Center . The
Institute includes five Young Artists Programs for hicrh school students (Instru-
mental, Vocal, Piano, Composition, and Quartet) and Five Institute Seminars for
college and high school students (Flute, Fare, Fmnire Brass, listening and Analysis ,
and Applied Music Study). Many of the Institute's students receive financial
assistance from funds contributed by individuals , Foundations , and corporations to
the Boston University Tanglewood Institute Scholarship Fund.
The Friends of Music at Tanglewood , an organization of music levers and patrons ,
gcnerouslu support the operation of the Tanglewood Music Center . Friends are in-
vited to all concerts of the Tanalewood Music Center with a Family Season Member-
ship of $60, or an Individual Season Membership of $40. Others attending each
TMC event are asked to contribute a minimum of $5 at the gate, and $6 for
orchestra concerts .
The Tanglev/ood Music Center is also supported by a grant from the National
Endowment for the Arts.
BALPUIN PIANO
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE YOUNG ARTISTS ORCHESTRA
(Coriolan Overture & Five Pieces for
Orchestra)
Violin I Cello (con’t.)
(Concerto for Orchestra)
Violin I Cello (con’t.)
Sabrina Berber
Anna Gravenhorst
Elizabeth Monroe
Katrin St. Clair
Cassandra Cherry
Jean Bennett
Derek Uallach
Allan Engstrom
Gabrie.lle Robinson
Fred Ripley
Margaret O’Connell
Erma Shook
Alicia Huang
Rebecca MacKinnon
Charles Ounsaullus
Lillian Gerard
Fred D’Ursel
Amy Oshiro
Violin II
Monisha Seth
Shelly Rich
Sarah Abramowicz
Scott Facher
Jeremy Williams
Roksana Kaczmarek
Trevor Orthman
Sonia Jun
Cigi Turgeon
Nina Basescu
Holly Edelson
Beth Lambert
Kerry Kee
Natasha Ensign
Kim Toro
Cynthia Moon
Kristine Kolbinger
Gabriel Wilson
Viola
Frika Sevetson
Barbara Blank
Aimee Ficchi
Kristen Docter
Russel Wrieht
David Huff
Kit Heller
Young, Park
Tracey Farrell
Michael Sylvester
Joan DerHovsepian
Jane Ferera
Kristin vanKirk
Cathy Conroy
Raea Leinster
Oj 1 Penchina
Cello
Tim O'Malley
Bass
Chris Clark
Gil Trout
Earl Fay
Jeff Weisner
Tracy Rowell
Marc Schmied
Flute
Laura Barron
Heidi Julien
Shannon Waddle
Eeva Youngs te in
Oboe
Andrew Aide Ison
Barbara Bishop
Douglas Prachman
Peter Smith
Clarinet
Michelle Doyle
Gregory Mallek
Patrick Leyden
Christian Schubert
Bassoon
Peter Mandell
Julia Rusling
Daniel Shelly
Steven Vac chi
Horn
Ruben Canriles
Eugene Kierman
And rev; Halberstadt
Steven Replogle
Derek Ross
Trumpet
Sarah Lester
Marlon Jordan
Jacob Sloane
Sean Walsh
Trombone
Daniel Balsam
Joel Porrelli
Kevin Roberts
Tuba
Matthev; Gaunt
Sonia Jun
Shelly Rich
Monisha Seth
Beth Lambert
Roksana Kaczmarek
Gabriel Wilson
Gigi Turgeon
Cynthia Moon
Cassandra Cherry
Scott Facher
Kim Toro
Polly Edelson
Nina Basescu
Kristine Kolb inner
Trevor Orthman
Katrin St. Clair
Natasha Ensign
Margaret O'Connell
V io 1 in II
Emma Shook
Alicia Huang
Rebecca MacKinnon
Kerry Kee
Sabrina Berger
Amy Oshiro
Allan Engstrom
Lillian Gerard
Charles Ounsaullus
Gabrielle Robinson
Fred D’Ursel
Jean Bennett
Elizabeth Monroe
Jeremy Williams
Derek Wallach
Fred Riplev
Sarah Abramowicz
Anna Gravenhorst
Viola
Young Park
Kristen Docter
Joan DerHovsenian
Gil Penchina
Paea Leinster
Jane Perera
Michael Sylvester
Russell Wright
Kristin vanKirk
Kit Heller
Cathy Conroy
Tracey Farrell
Barbara Blank
David Huff
Aimee Ficchi
Erika Sevetson
Cello
Tim O’Malley
Bass
Tracy Rowell
Chris Clark
Jeff Weisner
Marc Schmied
Earl Fay
Oil Trout
Orchestra Manager
Asadour Santourian
Assistant
Orch estra Manager
Philip Maffa
Orchestra Librarian
Kathleen Osborne
Stage Manager
Thomas Vienieri
4 member of Young
Artists Piano
Program
* TMCO member
* * * * * * * * * * * * * * * * * * * * * *
The Mendelssohn
Violin Concerto
will be performed
by
Joseph Silverstein
on Tuedav,
August I°th at
8 ; 30 PM in the
Theatre-Concert
Hall at
Tanglewood .
* * * * * * *********** * * * *
Chris Schnell
Muffin Spencer
Paul Fleury
Laurie Arnold
Warren Wu
Jason Me Comb
Kirsten Kessler
Chris Rankin
Dina Shek
Allan Alexander
Sonna Kim
Aron Rider
John Landefeld
Percussion
James Roznos
Gerald Dowd
Michael Garasi
Pichard Graber
Thomas Sessa
Celestje
4 John Root
Harp
Hank Whitmire
* .Alice Harlow
Michelle Beauchesne
John Landefeld
Raul Fleury
Sonna Kim
Dina Shek
Jason McComb
Chris Rankin
Aron Rider
Warren Wu
Michelle Beauchesne
Laurie Arnold
Chris Schnell
Allan Alexander
Kirsten Kessler
Muffin Spencer
BOSTON ITOTERSITV TANGU$flT«P INSTITUTE
Q1AMBFP MUSIC CONCEPT
Monday, August 18, 1986 at 8:30 p.m.
Chapter Music Fall
CAIFOt-t/ BJN10AMASCA SAT,TTrT, SCFFrnrr’
Jacob Slcane, trumet Marlon Jordan, trurnet
Steven Penlople, hom. Joel Porrelli, trophone
Fan Palsap, bass tropbone
Roger Voisin, coach
TfP'TT]? PTFCFjS FOP FLINT- ANF opnp *rMTT,v OTTFI*1
Laura Barron, Flute peter cpi th , oboe
Robert Sirota , coach
S’tPITF- OTTABTT7' 7 PtMIlET 55 xicTATT^niTCF
Allegretto
Lento
Allepro
Beth Lapbert, violin Fred F’Ursel, violin
Kirsten Footer, viola Sonna Kip, 'cello
Vyacheslav Uritsky , coach
CA 3NSB0B0UCK (Piece in Three Movepents) TITOVS CAT FTP
^cunr Artists Percussion Fnsernblo:
Japes Poznos - raarirba, vibraphone
Thopas Sessa - narinba, vibraphone , plockensoio! , bass drur>
Cerald Powd - snare dnip, ton- tors , bells, chipes, triangle
Pichard r-rahe^ - tipnani, trianple
Michael ^arasi - bass drup, cypbals, pon<?
Thomas Gauger f coach and conductor
^Student, Youno Artists Corpositi on Froerar
This evening' s performers are enrolled in the follov/ing
Boston University Tanglewood Institute programs :
YOUNG ARTISTS INSTRUMENTAL PROGRAM
YOUNG ARTISTS COMPOSITION PROGRAM
For the past twenty-one years, the Boston University Tanglewood Institute has
been a summer program of Boston University and the Tanglev/ood Music Center. The
Institute includes five Young Artists Programs for high school students
(Instrumental , Vocal, Piano, Composition, and Quartet) and five seminars for
high school and college age studetns (Flute, Harp, Empire Brass, Listening and
Analysis, and Applied Music Study). Many of the Institute’s students receive
financial assistance from funds contributed by individuals , foundations , and
corporations to the Boston University Tanglewood Institute Scholarship Fund.
The Friends of Music at Tanglev/ood , an organization of music lovers and patrons,
generouslu support the operation of the Tanglewood Music Center. Friends are
invited to all concerts of the Tanglewood Music Center with a Family Season
Membership of $60, or an Individual Season Membership of $40. others attending
each TMC event are asked to contribute a minimum of S5 at the gate, $6 for
orchestra concerts .
The Tanglewood Music Center is also supported by a grant from the National
Endowment for the Arts.
BALDWIN PIANO
Tanglew®»d Music Center
BOSTON If^/EPfTlY TANHHFOn H'^TITfTTF
YC*Utr? ARTISTE CKOPIF
\AUNG APTISTS OPOTSTRA
Tuesday, Aupust IP, 198b at 8:30 n.rn.
Theatre -Concert Pall
VERDI
I .AUDI AHA ^TPrFF T TAPIA
^ttttp^itnpiaITD SONG
(Arr. by Bissell)
F.FLIST TPLP. POTF
(Arr. by Vaughan. T Tillers)
C'T’A^TmpP
A^^PThfOUP
(Arr. by Fill cocks)
KPDALV
SEIBER
M0IDELSSOHN
TCHAIKaSKY
f Apr prr maj»v 1 q
TIT TUPTTF prw
FT BUT BIRD
George Pena, baritone
pjTTF-Trvfp cn^jGP
The lass oT pichrond TTill John Tedeschi , baritone
Barbara Allen Dominic Kollasch , baritone
Drink to re only Cole Bader, tenor
Parly one rominp Rebecca Brown, mezzo- so nr a no &
Todd filler, baritone
Bobby ShaPtoe
Leonard Atherton , conductor
TIT DFAF B0A7T-TAN
William Cutter, conductor
TTPFF tTBtCARIAN FOIF-P^TFP
The Fandscne Butcher
Annie, annle
The Old Thran
Leonard Atherton, conductor
- Intermission -
VIOLIN CTNCERTO FI F KFIHP., 'FIT fA
Allegro rolto appassionato
Andante
Allegro non tronno — Allegro rolto vivace
Joseph Silverstein , violin
Eiji Oue, conductor
priNFo AMP JLTTJTT OVFPTF1BE .. FANIAIT7
Joseph Silverstein , conductor
For the oast twenty-one years, the Boston University Tanglewood Institute has
been a summer program of Boston University and the Tanglewood Music Center. The
Institute includes five Young Artists Programs for high school students (Instru-
mental, Vocal, Piano, Composition , and Quartet) and five Institute Seminars for
college and high school students (Flute, Harp, Empire Brass, Listening and Analysis ,
and Applied Music Study) . Many of the Institute's students receive financial
assistance from funds contributed by individuals , foundations , and corporations to
the Boston University Tanglewood Institute Scholarship Fund .
The Friends of Music at Tanglewood , an organization of music lovers and patrons,
generously support the operation of the Tanglewood Music Center. Friends are in-
vited to all concerts of the Tanglewood Music Center with a Family Season Member-
ship of $60, or an Individual Season Membership of $40. Others attending each
TMC event are asked to contribute a minimum of $5 at the gate, and $6 for
orchestra concerts.
The Tanglewood Music Center is also supported by a grant from the National
Endowment for the Arts.
BALDWIN PIANO
BOSTON IPU^/FRSI'bv TAFTJF WOR TNGTTTTTBF
YnUTTC ARTISTS VOCAL PPOOPAM
Joan Feller, Director
YOlFF- APTISTS CHORUS
*Perrin Allen
*Milliam Cutter
Karin Kittay
Oorp-e Pena
Laura Althoff
Clarice Evans
Dctiinic Kollasch
Leslie Pessa
Paul Armstronp
Karen Frankenstein
^athrvn Komidar
Heidi Rothauser
Far5/ Ashley
Stacev Frederic]'
Annette LaCasse
Beth Saim
Cole Bader
Katherine Gamble
Mark Levison
Fnilv Sinner
Flissa Beach
Nancy Pinstlinp
Kristin Loiacono
Stephanie Sinner
■^Valerie Becker
Lara Coitain
Scott McCombs
Pebecca. Skuoin.
Dana Behr
Rachel Gorman
Elizabeth McIntyre
Mahlon Stewart
\ Tendy Brauner
Juli Pansen
Todd Miller
John Tedeschi
Rebecca Brown
Tamara Hardesty
Michael *1.11 in
Patricia Thon
Andrea Camevali
Kathleen Fendrv
Max Nerd
Teresa ’MrstenBo
Laura Clavton
*Nan Pushes
Kathryn o’T?ourve
Heather TTarren
Fllcn Shari Cohen
Feidi Isenberp
Timothv Os tendor f
Erika Kama da
Tanva Co lane lone
Dauri Kennedv
John Peitso
^erriber , vounp Artists Vocal Program °taff
Violin I
VOTIMC /n'T'jCT'p oroi-tfc'td a
Viola Flute
Tuba
Monisha Seth
Raea Leinster
Laura Barron
Matthew Gamt
Pebecca MacKinnon
c-il Panchina
Feidi Julian
ArTnr n.sMro
Gathv Conroy
Shannon Wadd le
Percussion
Kim Toro
Bussell TTripht
Peva Younnstcin
Jeremy Williams
Jane Psrera
Tomes Boznos
Sabrina Berper
Tracey Farrell
Oboe
Gerald Dowd
Alicia Pwsnp
Erika Sevetson
rilcbael parasi
Pristine Kolbinper
DaarLd T.-Tuff
Andrei7 Adelson
Richard Craber
Shellev Rich
Tear- DerFovsenian
Barbara Bishop
Thomas Sessa
Natasha Fnsipn
Airnee Picchi
Bou.plas Dracbnan
Bred D'Ursel
Kit Feller
Peter Smith
Karp
Cabriel Wilson
Sarah Abramowicz
Michael Sylvester
Barbara Plank
Clarinet
Wank Oitmire
Jean Bennett
Cynthia Moon
Kirsten Doctor
Vounp park
Michelle Dovle
Orchestra ^'an.aper
Anna Cravenhorst
Kristen van Kirk
Grepory 7 Ml lok
All.an Fnestrom
pa trick Levden
Asadoitr Santoijrian
Derek Willach
Cello
Christian Schubert
Violin II
Warren Wu
Bassoon
Assistant
Orchestra Manaper
Kerry Fee
Allan Alexander
Oris Pari' in
Peter Mendel 1
Phil in *%ffa
°oksana Kaczma.rek
laurie Arnold
Julia Pusllnp
Scott richer
Tin C’ Pal lev
Daniel Shellv
Orchestra Librarian
Cassandra Cherry
Aron Fider
Steven Vacchi
CiM Turpeon
Sonna Kim
Kathleen Osborne
Beth I amber t
Chris Schnell
Fora.
Dnaa Shook
Edna S-hek
Ctapc Manaper
Fred Pin lev
Kirsten Kessler
R.uben Caoriles
Sonia Jun
Jason McComb
Eupene Kierman
rrhomas Yj.'mnieri
Elizabeth Tlbnroe
John Landefeld
Andrew Falberstadt
Mina Basescu
Paul Eleury
Steven Renlople
Charles Gunsaullus
Michelle Beauchesne
Derek Ross
Lillian Cerard
Cabrielle Robinson
Bass
Trumpet
Trevor Orthman
Marparet O' Connell
T Tare Schmi.ed
Sarah Taster
Folly Fdelson
Earl Fav
Marlon Jordan
Katrin St . Clair
Gil Trout
Jacob Sloane
Chris Clark
Jeff O.isner
Tracy Rowell
Sean Walsh
Trombone
Daniel Balsam
Joel Borrolli
Herrin Poberts
NOTES ON THE CHORAL WORKS
Verdi's "Laudi alia Verpine Maria' is one of Four °acred pieces, each of
which is set differently. The ’laudi", for example, was composed for a four-
part women's or children's choir. The text, dra^m from Xante's "Paradise'’,
expresses the divine nature of Marv and her role as intercessor.
By opening with the upper three voices, T,rerdi depicts T am/ on a 'biipher
(divine) plane but contrasts this with surprising dynamic and harmonic chanycs
representing her humility. Peference to the Crop tor is greeted by a "fanfare."
Throiiph the use of melodic devices, Verdi portrays other characteristics of Marv.
Pisinp lines suppest the heipht of her poodness, while canonic entrances imply
s troop th and praciousnoss . A dramatic pause in the music draws attention to
Mary as a lovina and carinp fipure, whom individuals can approach without fear,
in unusual modulation introduces the final adulatory strophe. Thrdi closes the
piece with a. deceptively simple scttinp of the "Ave" (Mail, Mam/).
The balance of the propram is comprised primarily of fa lk ~s one arranpements .
It c.an be arpued that tlie folk-sonp is the most basic form of music; a settinv oc
a real-life (often profound) situation, Some are nostalgic (Cane St. hm's) ,
while others are nonsensical, fun soms (The Old Woman) . / third type depicts
colorful local characters, such as "The Deaf Boatman" and "Bobbv Shaftoe." 'rhe
latter text includes some words from the Scots: "ain" for "own," "Week" for
"reek," and ’bairn" for ’baby."
Finally, Stanford's "The Bluebird" stands alone as a remarkable and atmos-
pheric part sory of preat sensitivity and beautv.
Leonard Atherton
* * * TPiNGLEWOOD ON PAP. APE , TUESDAY, AUGUST 26, 1986 * * *
The Young Artists Orchestra, Eiji Oue conducting , will perforin
works of Tschaikowsky , Vaughan Williams and Stravinsky in the Shed
at 2; 30 p.m .
The Young Artists Chorus, Leonard Atherton conducting, will perform
works of Schutz , Weelkcs, Verdi, Willcocks and Dello-Joio in the
Shed at 5:00 p.m .
*******
BOSTON UNIVERSITY TANOLEWOOD INSTITUTE
CHAMBER MUSIC CONCEPT
Monday, August 25, 1986 at 8:30 Dm
Chamber Music Hall
QUINTET, OP. 43 CARL NIELSEN
Allegro ben moderato
Menuet
Heidi Julien, flute Patrick Leyden, clarinet
Douglas Drachman, oboe Daniel Shelly, bassoon
Andrew Halberstadt, horn
Craig Nordstrom, coach
OCTET FOR WINDS AND STRINGS ^LAURENCE HETRICK
Sabrina Berger, violin
Erika Sevetson, viola
Heidi Julien, flute
Patrick Leyden, clarinet
Thomas Vignieri,
Robert Sirota
Jeremy Williams, violin
Christopher Schnell, cello
Reva Youngstein, flute
Derek Ross, horn
conductor
coach
OCTET IN E-FLAT MINOR, OP. 20
FELIX P'ENDELSSOM
Andante
Allegro moderato ma con fuoco
Kerry Kee, violin Amy Oshiro, violin
Kristine Kolbinger, violin Lillian Gerard, violin
Gil Penchina, viola Raea Leinster, viola
Warren Wu, cello Timothy O'Malley, cello
Ronan Lefkowitz, coach
- Intermission -
YOUR SHINING EYES
MICHAEL EAST
Teri Torstenbo
Beth Clayton
Dominic Kollasch
Annette LaCasse
Cole Bader
Timothy Ostendorf
Leonard Atherton , coach
FANTASIE
SUITE, EN LA
JOHANN SEBASTIAN BACH
TOMASO ALBINONI
Sarah Lester, trumpet Sean Walsh, trumpet
Chris Cooper, horn Kevin Roberts, trombone
Matthew Gaunt , tuba
Roger Voisin , coach
SEXTET
FRANCIS POULENC
Allegro vivace
Divertissement
Finale
Shannon Waddle, flute Barbara Bishop, oboe
Michelle Doyle, clarinet Daniel Shelly, bassoon
Derek Ross, horn Larissa Sokoloff, piano
Ethan Sloane, coach
* Student, Young Artists Composition Program
This evening's performers are enrolled in the following
Boston University Tanglewood Institute programs :
YOUNG ARTISTS INSTRUMENTAL PROGRAM
YOUNG ARTISTS VOCAL PROGRAM
YOUNG ARTISTS PIANO PROGRAM
For the past twenty-one years, the Boston University Tanglewood Institute has
been a summer program of Boston University and the Tanglewood Music Center. The
Institute includes five Young Artists Programs for high school students (Instru-
mental, Vocal, Piano, Composition, and Ouartet) and five Institute Seminars for
college and high school students (Flute, Harp, Empire Brass, Listening and Analysis,
and Applied Music Study). Many of the Institute’s students receive financial
assistance from funds contributed by individuals, foundations, and corporations to
the Boston University Tanglewood Institute Scholarship Fund.
The Friends of Music at Tanglewood, an organization of music lovers and patrons,
generously support the operation of the Tanglewood Music Center. Friends are in-
vited to all concerts of the Tanglewood Music Center with a Family Season Member-
ship of $60, or an Individual Season Membership of $40. Others attending each TMC
event are asked to contribute a minimum of $5 at the gate, and $6 for orchestra
concerts .
The Tanglewood Music Center is also supported, by a grant frem the National
Endowment for the Arts .
BALDWIN PIANO
Tanglew®)d Music Center
TANGLE WOOD ON PARADE 1986
2:10
2:30
2:45
3:30
4:00
5:00
5:30
5:00
3:15
3:40
3:50
9:00
Fanfares
Oliver Knussen, conductor
Knussen: Fanfares for Tanglewood
Ronald Barron, conductor
Williams: Olympic Fanfare and Theme
Jacob: Salute to IJ.S.A.
Williams: Liberty Fanfare
Boston University Tanglewood Institute Young Artists Orchestra Shed
Eiji Oue, conductor
Tchaikovsky: Overture "Romeo and Juliet"
Stravinsky: Suite from "The Firebird"
Vaughan-Uilliams: Fantasia on a Theme of Thomas Tallis
Fellowship Program Vocal Concert Chamber Music Hall
Brahms: Six Songs
Five Italian Songs
Ives: Six Songs
Obradors: Classical Spanish Songs
Rachmaninoff: Six Songs
Fellowship Program Chamber Music Theatre
Knussen: Four Little Monsters, for double bass quartet
Mendelssohn: Piano Trio in d minor
Strauss: Serenade, Opus 7
Dvorak: Quintet for Strings, Opus 77
Bartok: Sonata for Two Pianos and Percussion
Mozart: Quintet for Strings, K. 515
Saint Saens: Fantaisie for Violin and Harp
Brahms: Quartet for Strings, Opus 51, no. 1
Beethoven, Quartet for Strings, Opus 18, no. 2
Boston University Tanglewood Institute Chamber Music Chamber Music Hall
Bartok: Mikrokosmos, movements 1, 4, 5
Dvorak: Quintet for Piano and Strings, 1st movement
Francaix: Quartet for Woodwinds
Brahms: String Sextet, Opus 36, movements 2, 3
Lebow: Suite for Brass
Main Gate Drive
(Shed if rain)
Boston University Tanglewood Institute Young Artists Chorus Shed
Schutz: Psalm 100
Weelkes: Gloria in excel sis Deo
Verdi: Laudi alia vergine Maria
Five Folk Sengs
Dello Joio: Song of the Open Road
Alpine Horn Demonstration Lawn near ..a in House
(Chamber Music Hall if rain)
Fellowship Program Wind Music Main House Porch
Mozart: Selections from "Cosi Fan Tutti" (Chamber Music Hall if rain)
Selections from "The Abduction from the Seraglio"
Fanfare: Roger Voisin, conductor
Copland: Fanfare for the Common Man
Fanfare: Charles Daval , conductor
Strauss: Feierlicher Einzug
Baldwin Piano Raffle Drawing
Seiji Ozawa, Gene Shalit
Gala Concert
Boston Symphony, Tanglewood Music Center, Boston University
Young Artists Orchestras
Leon'Fleisher, Seiji Ozawa, John Williams, conductors
Rear of Shed
Shed Stage
Shed Stage
Shed
fireworks over Lake Mahkeenac
The Tanglewood Music Center is a summer training center for especia « ly promising
young musicians, maintained by the Boston Symphony Orchestra.
TANGLEWOOD ON PARADE
Tuesday, August 26, 1066
BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
YOUNG ARTISTS ORCHESTRA
Eiji Cue, Conductor
2:30 p.m.
SHED
TCHAIKOWSKY
ROMEO AND JULIET OVERTURE - FANTASY
VAUGHAN WILLIAMS FANTASLA QN A THEME BY THOMAS TALLIS
STRAVINSKY FIREBIRD SUITE (1919)
Introduction
L’oiseau de feu et sa danse
Ronde des princesses
Danse infernale du roi Kastchei
Berceuse
Final
Special thanks to Mr. Voisin
for his valuable contribution in preparing this concert .
For the past twenty-one years, the Boston University Tanglev/ood Institute has been
a summer program of Boston University and the Tanglewood Music Center. The Insti-
tute includes five Young Artists Programs for high school students (Instrumental ,
Vocal, Piano, Composition , and Quartet) and five Institute Seminars for college
and high school students (Flute, Harp, Empire Brass, listening and Analysis , and
Applied Music Study). Mann of the Institute's students receive financial assisi.n*
from funds contributed by individuals , foundations , and corporations to the Boston
University Tanglewood Institute Scholarship Fund.
The Friends of Music at Tanglewood, an organization of music lovers and patrons ,
generously support the operation of the Tanglev/ood Music Center. Friends are in-
vited to all concerts of the Tang 7 pwood Music Center with a Family Season Member-
ship of $60, or an Individual Season Memlx^rship of $40. Others attending each TMC
event arc asked to contribute a minimum of $5 at the gate, and $6 for orchestra
concerts .
The Tanglewood Music Center is also supported by a grant from the National
Endowment for the Arts.
BALDWIN PIANO
BOSTON UNIVERSITY TANGLE WOOD INSTITUTE
YOUNG ARTISTS ORCHESTRA
EIJI OUE , Conductor
Violins
Cellos
Sorah Abremowicz
Alien Alexander
Nina Basescu
Laurie Arnold
Jean Bennett
Michelle Beauchesne
Sabrina Berger
Paul Fleury
Cassandra Cherry
*+ Kirsten Kessler
Fred D’Ursel
+ Senna Kim
Helena Edelson
^John Landefeld
Allan Engstrom
Jason McCorrtb
Natasha Ensign
Timothy O’Malley
Scott Facher
Christopher Rankin
Lillian Gerard
Aron Rider
Anna Gravenhorst
Christopher Schnell
Charles Gunsaullus
Dina Shek
*+/#Alicia Huang
## Sonia Jun
+Roksana Kaczmarek
Warren Wu
*Kerry Kee
Kristine Kolbinger
Basses
Beth Lambert
Christopher Clark
Rebecca MacKinnon
+Earl Fay
Elisabeth Monore
^Tracy Rowell
Cynthia Moon
Marc Schmied
Margaret O’Connell
Gilbert Trout
Trevor Crthmann
* Mirny Oshiro
Shelley Rich
i
Jeffrey Weisner
Gabrielle Robinson
Fred Ripley
Flutes
**MPnisha Seth
Laura Barron
++Ernma Shook
Heidi Julien
Kim Toro
Shannon Waddle
Gigi Turgoon
Derek Wallach
Jeremy Williams
Reva Youngstein
Gabriel Wilson
Oboes
Villas
Andrew Adel son
Barbara Bishoo
Barbara Blank
Douglas Drachman
Catherine Conroy
AT can DerHovsepian
Kirsten Doctor
Peter Smith
Tracy Farrell
Kit Heller
Clarinets
*/*Mlaea Leinster
Michelle Doyle
%cung Park
Gregory Mallek
Gil Penchina
Patrick Leyden
Jane Per era
Aimee Picchi
Erika Se vet son
Michael Sylvester
Kristin van Kirk
Russell Wright
* *Concertmaster , Tchaikowsku
* Principal , Tchaikowskg
Christian Schubert
++Concertmaster , Vaughan Williams
+Principal , Vaughan Williams,
Orchestra I
*+Principal, Vaughan Williams,
ttffConcertmaster , Stravinsky
^Principal , Stravinsky
Orchestra II
Bassoons
Peter Monde 11
Julia Pus ling
Daniel Shelly
Steven Vacchi
Trumpets
Sarah Lester
Marlon Jordan
Jacob Sloone
Sean Walsh
Horns
Ruben Capriles
Eugene Kierman
Andrew Halberstadt
Steven Replogle
Derek Ross
Trombones
Daniel Balsam
Joel Borrelli
Kevin Roberts
Tuba
Matthew Gaunt
Percussion
James Pnznos
Gerald Dowd
Michael Garasi
Richard Graber
Thomas Sessa
Harp
Hank Whitmire
Piano
John Root
Orchestra Manager
Asadour Santcurian
Assistant
Orchestra Manager
Philip Maffa
Librarian
Kathleen Osborne
Stage Manager
Thomas Vipnieri
Tanglew®)d Music Center
TANGLEWOOD ON PARADE
Tuesday, August 26, 1986
BOSTON UNIVERSITY TANCtIEWOOD INSTITUTE
CHAMBER MUSIC CONCEPT
4:00 p.m. Chamber Music Ball
PIANO QUINTET El B MAJOR, OP. 57 DMITRI SHOSTAKOVICH
Scherzo: Allegretto
Cassandra Cherry, violin Trevor Qrthmann, violin
Kristin van Kirk, viola Laurie Arnold, cello
John Root, piano
Max Winder, coach
PIANO QUINTET, OP. 8l ANTONKI DVORAK
Dumka
Rebecca MacKinnon, violin Holly Edelson, violin
Young Park, viola Kirsten Kessler, cello
Simone Dinner stein, piano
Amnon Levy, coach
QUATUOR JEAN FRANCAJX
Allegro
Andante
Allegro molto
Allegro vivo
Laura Barron, flute Andrew A.delson, oboe
Christian Schubert, clarinet Steven Vacchi, bassoon
Matthew Ruggiero , coach
THREE PIECES FROM "MIKBOKOSMOS’*
BELA BARTOK
Jack in the Box (Merry Andrew)
Melody
From the Diary of a Fly
Charles Gunsaullus, violin Anna Oravenhorst, violin
Michael Sylvester, viola Aron Rider, cello
Bo Youp Hwang, coach
STRING
OP. 18
JOHANNES BRAHMS
Andante, ma moderate
Scherzo
Kerry Kee, violin
Young Park, viola
John Landefeld, cello
Fiji Oue ,
SUITE FOR BRASS
March
Blues
Reel
Marlon Jordan, trumpet
Sean Walsh, trumpet
Eugene Kierman, horn
Daniel Balsam, trombone
Kevin Roberts, trombone
Roger Voisi
Scott Facher, violin
Joan Derllovsepian , viola
Adlan Alexander, cello
coach
LEONARD LEBOW
Jacob Sloane, trumpet
Steven Replogle, horn
Derek Ross, horn
Joel Borrelli, trombone
Matthew Gaunt, tuba
, coach
This afternoon’s performers are enrolled in the following
Boston University Tanglewood Institute proprams:
Young Artists Instrumental Pro, pram
Younr Artists Piano Pro pram
For the past twenty-one years, the Boston University Tanglewood Institute has been
a summer program of Boston University and the Tanglewood Music Center . The
Institute includes five Young Artists Programs for high school students (Instru-
mental , Vocal, Piano, Composition, and Ouartet) and five Institute Seminars for
college .and high school students (Flute, Harp, Empire Brass , Listening and Analysis ,
and Applied Music Study). Many of the Institute's students receive financial
assistance from funds contributed by individuals , foundations , and corporations to
the Boston University Tanglewood Institute Scholarship Fund.
The Friends of Music at Tanglewood , an organization of music lovers and patrons,
generously support the operation of the Tanglewood Music Center. Friends are in-
vited to all concerts of the Tanglewood Music Center with a Family Season Member-
ship of $60, or an Individual Season Membership of $40. Others attending each
TMC event are asked to contribute a minimum of $5 at the gate, and $6 for
orchestra concerts .
The Tanglewood Music Canter is also supported by a grant from the National
Endowment for the Arts.
BALDWIN PIANO
Tanglewffid Music Center
TANGLETOOD CN PARADE
Tuesday, August 26, 1966
BOSTON UNIVERSITY TANOLEVIOOD INSTITUTE
9: 00 p.m.
YOUNG ARTISTS CHORUS
Leonard Atherton, Conductor
SCHUTZ
PSALM 100
SHED
Members of the Empire Brass Seminar
Karen Muenzinger , trumpet
Glen Whitehead , trumpet
Robert Pasmussen , horn
Lee Anne Williamson , euphonium
Jennifer Johnson , tuba
WEELKES GLORIA IN EXCELSIS DEO
VERDI
LAUDI ALLA VERGINA I 'FARIA
ANONYMOUS RIVE FOLK SONGS
The lass of Richmond Hill
John Tedeschi , baritone
Barbara Allen
Dominic Kollasch , baritone
Drink to me only
Cole Bader , tenor
Early one morninp
Rebecca Brovm , mezzo soprano
Todd Miller, baritone
Bobby Shaft oe
DELLO J0I0
SONG OF THE OPEN ROAD
Timothy Morrison , trumpet
Valerie J. Becker, piano
For the past twenty-one years, the Boston University Tanglewood Institute has been
a summer program of Boston University and the Tanglewood Music Center. The Insti-
tute includes five Young Artists Programs for high school students (Instrumental ,
Vocal, Piano, Composition, and Ouartet) and five Institute Scriinars for college and
high school students (Flute, Harp, Empire Brass, Listening and Analysis , and A.pplied
Music Study). Many of the Institute' s students receive financial assistance from
funds contributed by individuals , foundations , and corporations to the Boston
University Tanglewood Institute Scholarship Fund.
The Friends of Music at Tanglewood , an organization of music lovers and natrons,
generously support the operation of the Tanglewood Music Center. Friends are in-
vited to all concerts of the Tanglewood Music Center with a Family Season Member-
ship of $60, or an Individual Season Membership of $40. ethers attending each TMC
event are asked to contribute a minimum of $5 at the crate, $6 for orchestra
concerts .
The Tanglewood Music is also supported by a errant from the National Endowment for
the Arts.
BALDWIN PIANO
BOSTON UNIVERSITY TONG LEI JO OR INSTITUTE
YOUNG ARTISTS CHORUS
Laura Althoff
Paul Armstronp
Mary Ashley
Cole Bader
Elissa Beach
Dana Behr
Wendy Brauner
Pebecca Brov/n
Andrea Camevali
Laura Clayton
Ellen Shari Cohen
Tanya Colanpione
Clarice Evans
Karen Frankenstein
Stacey Frederick
Katherine Gamble
Nancy Ginstlinp
Lara Goitein
Pachel Gorman
Juli Hansen
Tamara Hardesty
Kathleen Hendry
Heidi Isenberp
Dauri Kennedy
Kar'in Kittav
Dominic Kollasch
Annette LaCasse
Mark Levis cn
Kristin Loiacono
Scott McCombs
Elizabeth McIntyre
Todd Miller
Michael Millin
Max Nemi
Kathryn O'Rourke
Timothy Ostendorf
John Peitso
Georpe Pena.
Leslie Pessa
Heidi Rothauser
Beth Salm
Emily Sinper
Stenhanie Sinper
Rebecca Skupin
Mahlon Stewart
John Tedeschi
Teresa. Torstenbo
Heather Warren
Erika Yamada
YOUNG ARTISTS VOCAL STAiFF
Jo.an Keller, Director
Leonard Aiherton, Conductor
Victoria Sirota, Theory Coordinator
Perrin Allen
Valerie J. Becker
William Cutter
Nan Huphes
Kathryn Komidar
Patricia Thom
SEIJI OZAWA, Music Director, Boston Symphony Orchestra
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BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
GENERAL INFORMATION
NAMED FELLOWSHIPS
SEIJI OZAWA, Music Director, Boston Symphony Orchestra
LEON FLEISHER, Artistic Director, Tanglewood Music Center
DANIEL R. GUSTIN, Administrative Director
THE TANGLEWOOD SEMINARS offer opportunities for advanced training in specific disciplines but without public performance by
members. Members have full privileges at Thnglewood, including attendance at all Boston Symphony Orchestra concerts and rehearsals,
use of the Music Center's Library and practice facilities, and admission to Music Center events, all without additional charge. Limited
tuition scholarships are available in cases of special merit and/or need, but all members are responsible for the full cost of their housing
for the summer.
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BOSTON UNIVERSITY TANGLEWOOI) INSTITUTE
GENERAL INFORMATION
NAMED FELLOWSHIPS
SEIJI OZAWA, Music Director, Boston Symphony Orchestra
LEON FLEISHER, Artistic Director, Tanglewood Music Center
DANIEL R. GUSTIN, Administrative Director
RICHARD ORTNER, Administrator
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GENERAL INFORMATION
NAMED FELLOWSHIPS
SEIJI OZAWA, Music Director, Boston Symphony Orchestra
LEON FLEISHER, Artistic Director, Tanglewood Music Center
DANIEL R. GUSTIN, Administrative Director
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The Tanglewood Music Center does not discriminate against any applicant on the basis of race, religion, creed, color, sex, national or ethnic origin in the
administration of its educational policies, admissions, financial assistance, employment or other programs.
TEACHING
Please give a short resume of your training and experience in the teaching of music.
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musicians ages 15-18, and five Institute
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BOSTON UNIVERSITY TANGLEWOOD INSTITUTE
GENERAL INFORMATION
NAMED FELLOWSHIPS
ALL CANDIDATES must complete the Conductors:
printed application. Ail instrumentalists application deadline January 2, 1986
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FELLOWSHIPS AT THE TANGLEWOOD MUSIC CENTER
Fellowship gifts to the Thnglewood Music Center enable over 140 students to continue their professional training and gain experience
under the guidance of eminent musicians and teachers. The Fellowships listed below were awarded in 1985. We are grateful to these
individuals and organizations for their generosity.
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TANGLEYVOOD MUSIC CENTER
SYMPHONY HALL
BOSTON, MA. 02115
Boston University
Tanglewood Institute
July 1 -August 26, 1986
Winter address:
855 Commonwealth Avenue
Boston, Massachusetts 02215
617/353-3386
Summer address:
Tanglewood
Lenox, Massachusetts 01240
413/637-1430
Scott Schillm, Executive Director
Phyllis Curtin, Dean, School for the Arts
David N. Burnham, Assistant to the Executive Director
Beth Sanford, Senior Staff Assistant
Tanglewood
The stage door opens. The applause begins. The orchestra
stands. Out walks Seiji Ozawa, and another concert by the
Boston Symphony Orchestra begins at Tanglewood. The 5,000
people seated inside the Music Shed are transfixed by the
conductor’s every movement. Outside, thousands more lie back
and look at the sky, filled with stars, and listen.
For a quarter of a million people each year, the summer would
not be complete without the concerts at Tanglewood.
The Boston Symphony Orchestra performs an ambitious ten-
week season with three different programs each weekend. The
great artists of our generation regularly join them in concert —
Kiri Te Kanawa, Andre Prevm, Yo-Yo Ma, Peter Serkin, Itzhak
Perlman, and Leonard Bernstein are among the visiting artists
from last season alone.
Here, on a beautiful country estate in the gently rolling hills of
western Massachusetts, the Tanglewood concerts have delighted
audiences for years.
It all began in 1937 during the tenure of the legendary music
director, Serge Koussevitzky. Soon after the concert series was
established, this champion of learning fulfilled a lifelong ambi-
tion. It was Koussevitzky's dream that in the breathtaking sur-
roundings of the Berkshire Hills young musicians might gather
from all parts of the country and abroad to study music — to
abandon all other concerns and activities for one entire summer
of intense music-making.
Thus began the Tanglewood Music Center, recognized as the
preeminent musical establishment in the United States, if not
the world. Countless "alumni" have gone on to achieve world-
wide eminence — among them, Leonard Bernstein, Phyllis
Curtin, Zubm Mehta, Leontyne Price, and the Boston Symphony
Orchestra's current music director, Seiji Ozawa.
In 1965, the Dean of the Boston University School for the Arts
and Erich Leinsdorf, who was then Music Director of the Boston
Symphony Orchestra, together devised a program giving high-
school musicians many of the same benefits enjoyed by the
older students at the Tanglewood Music Center. The new
program became known as the Boston University Tanglewood
Institute.
Today, the Boston University Tanglewood Institute is known
throughout the country for musical quality, enthusiasm, and
commitment. Here young people devote themselves for one or
two months to a musical experience without parallel, under the
guidance of the most dedicated, established professional musi-
cians, and in the constant presence of one of the great symphony
orchestras of the world.
1
Boston University Tanglewood Institute
For any student of high-school or college age who is willing to
be challenged by the highest standards, the Boston University
Tanglewood Institute represents an opportunity that may rightly
be called unique. For Tanglewood is a magic blend — of the for-
mal and informal, of joy and hard work. Nobody who attends
one summer at Tanglewood remains untouched by the
experience.
The Boston University Tanglewood Institute programs are
divided into two main categories: the Young Artists Programs
for high school students (ages 15 through 18), and the Institute
Seminars (for students 15 years and older).
There are five Young Artists Programs:
— Young Artists Instrumental Program
— Young Artists Quartet Program
— Young Artists Piano Program
— Young Artists Vocal Program
— Young Artists Composition Program
There are four Institute Seminars:
— Empire Brass Seminar
— Flute Seminar
— Fiarp Seminar
— Applied Music Study/Listening and Analysis Seminar
Full details about each of these programs and seminars can be
found on the following pages. Brief biographies of the Institute's
outstanding faculty are listed at the back of this catalogue.
Students enrolled in the Boston University Tanglewood
Institute receive access to every performance at Tanglewood.
In addition to Festival concerts each weekend, students attend
performances throughout the week. Together with the chamber
2
music concerts, vocal recitals, and student performances, there
may be as many as fifteen concerts presented at Tanglewood
every week of the summer.
Not only can students attend the concerts of the Boston
Symphony Orchestra, they are also allowed to attend closed
rehearsals. Available exclusively to Tanglewood students, these
closed rehearsals provide the rare opportunity to experience
firsthand the work of conductors like Ozawa, Bernstein, Mazur,
and Previn.
The facilities at Tanglewood are impressive. In addition to
the 5,000-seat Music Shed, the grounds also include a 1,200-
seat Theatre— Concert Hall, a 300-seat Chamber Music Hall,
numerous barns, rehearsal studios, and classrooms. Additional
rehearsal and practice space is provided on the student cam-
puses. The Tanglewood library has listening facilities as well
as thousands of albums and scores. More than a hundred new
pianos for use by students and resident artists are generously
provided by the Baldwin Piano St Organ Company every year.
It is impossible to list the large number of dedicated and char-
ismatic people with whom Tanglewood Institute students come
in contact during the summer — orchestra members who share a
meal with students at the outdoor cafeteria, the distinguished
conductor who attends every student performance, the cellist of
one of the world's great string quartets who coaches chamber
music. These and other experiences — the impromptu sight-
reading sessions on the lawn, the sudden thunderstorms, the
finding of the hidden path to the lakeside beach — these can only
be related by someone who has been there. Or they can be expe-
rienced in person — at the Boston University Tanglewood
Institute.
3
Contents
The Application Form for 1986 is found in the middle of
this booklet.
Tanglewood / 1
Boston University Tanglewood Institute / 2
Young Artists Programs (ages fifteen through eighteen only)
Young Artists Instrumental Program (Young Artists
Orchestra) / 6
Young Artists Quartet Program / 8
Young Artists Piano Program (including Chamber Music
Pianists) / 9
Young Artists Vocal Program (Young Artists Chorus) / 10
Young Artists Composition Program / 12
Institute Seminars (ages fifteen and older)
Empire Brass / 14
Flute / 15
Flarp / 16
Applied Music Study/Listening and Analysis / 18
General Information
Application Instructions / 21
Application
Audition Instructions / 22
Instrumentalists
Vocalists
Composers
In-Person Auditions / 23
Taped Auditions for All Programs / 23
1986 Audition Centers and Schedule / 24
Financial Information and Fee Schedule / 28
Scholarship Information / 29
Registration / 30
Refunds / 30
Housing / 32
Transportation to Tanglewood / 34
Visitors to Tanglewood / 34
Biographies / 36
Tanglewood Music Center Fellowship Program
and Tanglewood Seminars / 43
Boston University School of Music / 44
5
mu; i
YOUNG ARTISTS
PROGRAMS
(ages fifteen through
eighteen only)
|uly 1 -August 26, 1986
Eight-Week Program
Young Artists Instrumental Program
(Young Artists Orchestra)
The Young Artists Instrumental Program, also known as the
Young Artists Orchestra, is a full-time, in-depth, music pro-
gram. It involves an intensive study of the orchestral literature,
and offers the unique opportunity to rehearse and present public
performances of orchestral works under the direction of a wide
range of conductors, from young, enthusiastic newcomers to
world-renowned artists such as Leonard Bernstein, Joseph
Silverstein, and Leonard Slatkin.
The orchestra rehearses every morning for two and a half
hours. The work is intense and exhilarating. Almost every week
a new program is in preparation, and each program is presented
by the Young Artists Orchestra in a public concert on the
Tanglewood grounds.
Orchestral discipline, tuning techniques, questions of
balance and texture, interpretation and historical background,
difficulties of notation, rhythmic problems — all are addressed
both in the context of the full orchestra and in separate sectional
rehearsals. Within each section students take part in a system of
rotation so that the competitiveness that is sometimes a part of
young orchestras has no place here. The stress is on a combined
striving for musical excellence. In rehearsals students can also
learn as much about other instruments and their techniques as
about their own — a vital prerequisite for the fully educated
musician.
Another important educational experience is chamber music.
Afternoons are devoted to work in small ensembles, and every
student is assigned to a chamber group for the practice, prepara-
tion, and ultimate public presentation of various works for dif-
ferent combinations of instruments. These groups are varied and
changed, so that each student can gam the maximum amount of
experience possible. Each of the chamber groups works under
the close guidance of an individual coach drawn from the
Tanglewood faculty.
The third vital component of the instrumental program is
private instruction given by members of the Boston Symphony
Orchestra, and by faculty from the Boston University School of
Music and the Boston University Tanglewood Institute.
The overall schedule is rigorous, but students are expected to
make time for private practice to maintain the highest standards
of performance on their instrument.
All of these activities take place in the immediate context of
the Tanglewood summer music festival, so that the young
orchestral player hears and sees every day the inspiring model of
one of the world's great symphony orchestras. Members of the
Young Artists Orchestra are privileged to attend the private
rehearsals of the Boston Symphony Orchestra, which are closed
to the general public, where they will witness the preparation
of the finest works of the orchestral literature, and are able to
6
observe, from the distance of a few feet, the great conductors and
the musicians at work.
Chamber music too is a constant part of the Tanglewood
music festival, and members of the Young Artists Orchestra are
able to attend the large number of chamber recitals given at
Tanglewood every summer.
The students in this program are provided with a pass which
entitles them to attend all the concerts of the Tanglewood Sum-
mer Music Festival free of charge.
The schedule is a demanding one, but it is also challenging,
fulfilling, and exhilarating. Somehow the students also find
time for occasional dips in the lake, hikes in the woods, games
of volleyball after dinner, and the famous annual softball game
with the BSO. But the emphasis is on music, and making music.
And young instrumentalists who attend the Boston University
Tanglewood Institute — whether they have it in mind to become
professional musicians, or intend to perfect their musicianship
for their own deeper pleasure — find at Tanglewood an experi-
ence they never forget.
Works read and/or performed by the Young Artists Orchestra
during the 1985 season:
Albinoni
Barber
Bernstein
Brahms
Copland
Debussy
Franck
Mahler
Mozart
Resphigi
Rimsky-Korsakov
Rossini
Schuman
Sibelius
Sirota
Tschaikovsky
Vaughan Williams
Concerto in G Major for Trumpet and
Orchestra
Adagio for Strings, Op. 1 1
Overture to Candide
Symphony No. 1 in C Minor, Op. 68
"FFoedown" from Rodeo
Prelude from Suite Bergamasque
Symphony in D Minor
Symphony No. 1 in D Major (Titan)
Symphony No. 36 in C Major, K. 425 (Linz)
Pines of Rome
Capnccio Espagnol, Op. 34
Overture to "La Gazza Ladra"
New England Triptych
Symphony No. 2, Op. 43
Concerto for Cello and Orchestra
Symphony No. 6 in B Minor, Op. 74
(Pathetique)
Dona Nobis Pacem
The Boston University School of Music accepts satisfactory
performance in the Young Artists Instrumental Program as
fulfilling six elective credits toward an undergraduate degree
at Boston University.
7
YOUNG ARTISTS
PROGRAMS
Young Artists Quartet Program
(ages fifteen through
eighteen only)
[uly 1 -July 27, 1986
Four-Week Program
The Young Artists Quartet Program is a concentrated musi-
cal experience designed to educate a small number of students
who are dedicated to spending four full weeks immersed in all
aspects of string quartet playing. The program contains an
intensive study of specific quartet literature and offers an op-
portunity for students to work under the direction of Norman
Fischer, cellist with the renowned Concord String Quartet, as
well as other distinguished and experienced performer/teach-
ers in residence at Tanglewood.
Every day, students are involved in serious morning rehears-
als and valuable afternoon coaching sessions with emphasis
on such topics as communication, tuning, balance, interpreta-
tion, and performance practice. In addition to the study of
more standard works there is an introduction to some aspects
of the twentieth-century literature. The schedule is rigorous,
but each student is expected to spend additional time daily on
private practice to maintain the highest performance
standards.
Among the visiting chamber groups to work at Tanglewood
last year were the Muir String Quartet, the Concord String
Quartet, the Beaux Arts Trio, and the Boston Symphony
Chamber Players.
Joel Krosnick of the fuilliard String Quartet coaches students in
the Young Artists Quartet Program.
8
YOUNG ARTISTS
PROGRAMS
Young Artists Piano Program
(ages fifteen through
eighteen only)
Session I:
July 1-27, 1986
Session II:
July 29-August 26, 1986
Sessions I and II:
July 1 -August 26, 1986
Two Four-Week Programs
or One Eight -Week
Program
The Young Artists Piano Program offers high-school pianists
private lessons, master classes, and theory instruction. Private
lessons, taught by Maria Clodes Jaguaribe, enhance individual
development through the study of technique, tonal quality, and
repertoire.
Master classes are presented frequently throughout the week
and provide a congenial atmosphere in which students perform
for their peers. Works are discussed by students and faculty with
reference to musical ideas, historical context, and sense of style.
Students are also coached on performance behavior, with empha-
sis on relaxation at the keyboard when performing. Additional
master classes are conducted by guest artists who have included
such figures as Anthony di Bonaventura, Gilbert Kalish, Garrick
Ohlsson, Andre-Michel Schub, and Malcolm Frager. Special
classes are devoted to those interested in works for four hands as
well as the concerto repertoire.
At the end of each four-week session, students are encouraged
to perform at “in-house" recitals. Throughout the summer pia-
nists often collaborate with other instrumentalists enrolled at
the Institute in informal chamber-music making.
The Boston University School of Music accepts satisfactory
performance in the Young Artists Piano Program as fulfilling
three elective credits (for each four-week program) toward an
undergraduate degree at Boston University.
Chamber Music Pianists
Young Artists Instrumental Program
Each year, several advanced students are accepted as collabora-
tive pianists in the Young Artists Instrumental Program. These
students are coached by pianist Margo Garrett, and by members
of the Boston Symphony Orchestra. The student's time is spent
in the practice of instrumental accompaniment and chamber
music for study and public performance.
9
YOUNG ARTISTS
PROGRAMS
(ages fifteen through
eighteen only)
July 1 -August 26, 1986
Eight -Week Program
Young Artists Vocal Program
(Young Artists Chorus)
The Young Artists Vocal Program is designed to give special
opportunities to young singers, whether they aim at a profes-
sional career, or intend to continue their musical activities as
informed amateurs. The program stresses broad musical train-
ing as well as specific vocal techniques, and aims at a full musi-
cal education for its students.
Each student sings in the Young Artists Chorus, which
rehearses every day in programs with an enormous variety of
styles and repertoire, from the great works of the Renaissance
to modern choral masterpieces. These rehearsals are arranged
both for the full chorus and for sectional groups. Small chamber
ensembles are also formed, and every student takes part in these
groups that specialize in part-songs and madrigals.
There are ample opportunities for performance, with the
Young Artists Chorus taking part in many of the full-dress pub-
lic concerts on the Tanglewood grounds, as well as the chamber
and vocal recitals that take place during the festival.
The Boston University Tanglewood Institute understands
that young voices need special care and attention, and special
sessions are devoted to wise vocal techniques, and to the physi-
ology of the voice.
An unusual and important component of this program is the
fact that all vocal students also participate in classes devoted to
ear-training, sight-singing, and music theory — classes essential
to the fullest development of the singer and the background of
an educated musician.
Students receive coaching with one of the outstanding faculty
from the Boston University Tanglewood Institute. In addition,
group lessons with faculty from the Boston University School of
Music cover basic vocal technique, practice-strategy, and vocal
production.
A special element of the Young Artists Vocal Program is
the series of lectures and demonstrations arranged regularly
for the students, covering such topics as movement, stage proto-
col, musical criticism, professional careers in the arts, music
history, arts management, and the like — all given by noted
authorities in their respective fields who are in residence at the
Tanglewood Festival.
One of the most remarkable features of the Boston University
Tanglewood Institute is its situation at the heart of one of the
great music festivals of the world. This enables students to expe-
rience first-hand the foremost practitioners of the art. Resident
at Tanglewood every summer is Phyllis Curtm, the famous
American soprano and voice teacher, and now Dean of Boston
University's School for the Arts. Students in the Young Artists
Vocal Program will be able to visit the Phyllis Curtin Seminar
for Singers, and to attend the concerts and vocal recitals given
by the members of that Seminar and the vocal Fellows of the
10
Tanglewood Music Center. In addition, students are provided
with concert passes so that they may hear the formal orchestral
and choral concerts of the Boston Symphony Orchestra, often
featuring world-renowned singers such as Jessye Norman, Leon-
tyne Price, and Benjamin Luxon, entirely free of charge. It has
often happened in the past that one or another of these visiting
artists will give a spontaneous presentation to the members of
the Young Artists Vocal Program.
The Boston University School of Music accepts satisfactory
performance in the Young Artists Vocal Program as fulfilling
six elective credits toward an undergraduate degree at Boston
University.
Phyllis Curtin, Dean of the Boston University School for the
Arts, works with a singer during a Young Artists Vocal Program
master class.
11
YOUNG ARTISTS
PROGRAMS
Young Artists Composition Program
(ages fifteen through
eighteen only)
July 1 -August 26, 1986
Eight-Week Program
Ever since Leonard Bernstein was a student of composer
Aaron Copland during the first historic season of the Tangle-
wood Music Center, Tanglewood has been a thriving center for
young composers.
The Young Artists Composition Program offers a truly unique
opportunity for high-school age students to immerse themselves
in their craft. Under the direction of Dr. Robert Sirota, Director
of the Boston University School of Music, students receive
weekly private lessons, classes in musicianship and theory, lec-
tures on notation, calligraphy, conducting, orchestration, and
trends in the world of contemporary music. Many students who
have enrolled in this program have gone on to win composition
prizes, including the BMI Award, and regularly gam admission to
major universities and conservatories to continue their study of
composition.
Students are exposed to a wide variety of activities, including
lectures by major figures in the field of composition. In recent
years, guests have included Gunther Schuller, Leon Kirchner,
Hans Werner Henze, and John Harbison.
There is close interplay among the composers, instrumental-
ists, and vocalists of the Young Artists programs who participate
twice weekly in readings of composers' works in progress.
Selected student works are performed at Tanglewood and at
Institute "in-house" concerts.
Composers have access to many of the activities of the
Tanglewood Music Center's Fellowship Program, designed for
composers of college and postgraduate age. Each year, Tangle-
wood is the site of the Festival of Contemporary Music, a week-
long series of concerts dedicated entirely to new music. By
observing the Festival's rehearsals and concerts, students gam
valuable insight into the role of the composer in preparing one's
work for performance. In the process, students are exposed to a
broad range of new music for soloist, chamber ensemble, and
orchestra, performed by members of the Boston Symphony
Orchestra and Tanglewood Music Center.
The Young Artists Composition Program is designed to treat
the high-school composer with the same respect and expecta-
tions for accomplishment usually found only in college-level
composition work. The atmosphere is non-competitive but
intensely committed to the development of emerging talent.
The Boston University School of Music accepts satisfactory
performance in the Young Artists Composition Program as ful-
filling six elective credits toward an undergraduate degree at
Boston University.
12
Students of the Young Artists Composition Program with
director, Dr. Robert Sirota.
13
institute seminars Empire Brass Seminar
(ages fifteen and older)
Session I:
luly 1-27, 1986
Session II:
filly 29- August 26, 1986
Sessions I and II:
July 1 -August 26, 1986
Two Four-Week Seminars
or One Eight-Week
Seminar
The Empire Brass Seminar is designed for accomplished brass
players, high-school age and older, seeking participation in an
intensive chamber music program. The seminar stresses an
advanced level of technical proficiency and musicianship,
achieved through a rigorous program of rehearsals, lectures,
master classes, and performances. Included in the program are:
coaching of individual quintets by members of the Empire Brass
and visiting faculty; participation in large brass ensemble;
weekly performance classes; daily open rehearsals by the Empire
Brass; and regular lectures and master classes by the Empire
Brass, members of the Boston Symphony, and other brass
specialists.
A typical day includes two to four hours of quintet rehearsal
and coaching, and two hours of open rehearsals or master classes
in the afternoon. Large ensemble rehearsals, lectures, and mas-
ter classes are regularly scheduled throughout the week.
Each student quintet participates in a weekly performance
class, which is videotaped so students might see and hear their
work, and discuss it with faculty.
The Empire Brass have always considered teaching an impor-
tant extension of their performing activities. They have given
master classes and clinics across the United States, in Europe,
and in Japan. Through their vast experience they are able to
assist students in improving the fundamentals of brass playing
with classes on breathing, ear training, rhythm, and musicality.
Students also develop outstanding chamber music concepts —
intonation, balance, group rhythm, and good rehearsal tech-
niques— through quintet coaching and Empire Brass open
rehearsals. The seminar experience benefits not only the stu-
dents' chamber-music playing, but also improves general play-
ing techniques through intensive practice and performance.
The Boston University School of Music accepts satisfactory
performance in the Empire Brass Seminar as fulfilling three elec-
tive credits (for each four-week seminar) toward an undergradu-
ate degree at Boston University.
The Empire Brass Seminar is partially supported by Rayburn
Musical Instrument Company of Boston, New England's Center
for woodwinds and brass.
14
institute seminars Flute Seminar
(ages fifteen and older)
fuly 1-27, 1986
Four-Week Seminar
Designed for advanced students, the Flute Seminar addresses
a broad range of topics related to flute performance. Under the
direction of the Boston Symphony Orchestra's principal flutist,
Donot Anthony Dwyer, and the Orchestra's assistant principal
flutist, Leone Buyse, participants receive individualized atten-
tion through regularly scheduled master classes and coaching
sessions.
A typical week will include up to twenty hours of master
classes. The areas of study include: tone production, intona-
tion, performance practice, and specific flute techniques. The
Anderson Etudes (Op. 15) are studied not only for their technical
aspects, but also to examine the relationship that exists between
specific etudes and orchestral excerpts and solo works for flute.
In addition, emphasis is placed on the study and interpretation
of the standard flute literature and important orchestral reper-
toire. Participants are expected to spend several hours daily in
private practice in preparation for master classes.
Students will of course have the opportunity to hear their
teachers in performance with the BSO almost every day during
the Festival, and to experience the rehearsal and performance of
the very works analyzed in class.
The Boston University School of Music accepts satisfactory
performance in the Flute Seminar as fulfilling three elective
credits toward an undergraduate degree at Boston University.
15
institute SEMINA rs Harp Seminar
(ages fifteen and older]
Session I:
[uly 1 -27, 1986
Session II:
July 29-August 26, 1986
Sessions I and II:
July 1 -August 26, 1986
TWo Four-Week Seminars
or One Eight -Week
Seminar
The Harp Seminar provides serious students with the enviable
opportunity of studying for one or two months totally immersed
in the study of the instrument. Under the tutelage of Lucile
Lawrence, long considered a dominant force in the harp world,
students receive one-hour lessons twice a week. The lessons
stress technique and the interpretation and performance prac-
tice of the standard harp repertoire and important orchestral
excerpts. Master classes are given regularly throughout the
session by Ms. Lawrence and guest artists. Students also are
coached in preparation for future auditions and competitions.
Great care is taken to provide as much practice time as is
needed for each student to keep pace with this rigorous program.
Given the personal dedication necessary for this program, apply-
ing students should be self-motivated and committed to the
study of harp.
Students are encouraged to take full advantage of the many
concerts and rehearsal opportunities available at Tanglewood to
complement one's own training in harp.
The Boston University School of Music accepts satisfactory
performance in the Harp Seminar as fulfilling three elective
credits (for each four-week seminar) toward an undergraduate
degree at Boston University.
16
INSTITUTE SEMINARS
(ages fifteen and older)
Session I:
July 1-27, 1986
Session II:
July 29-August 26, 1986
Sessions I and II:
July 1- August 26, 1986
Two Four-Week Seminars
or One Eight-Week
Seminar
Applied Music Study/Listening
and Analysis Seminar
The Applied Music Study/Listening and Analysis Seminar is a
special program that combines two central aspects of the musi-
cal experience: performance and educated listening. Eligible for
this program are students of any age, especially those in high-
school or college who do not wish to enroll in the public per-
formance activities of the other Institute programs, but who
are interested in developing their musical skills in the context
of the vibrant atmosphere of the Tanglewood Music Festival.
The Applied Music Study part of the program is designed for
those who wish to spend a concentrated portion of their time
devoted to intense private practice and the improvement of their
own musical skills. Participants receive private lessons every
week with faculty from the Boston Symphony Orchestra and the
Boston University School of Music. They attend master classes,
as well as rehearsals and concerts of the Boston Symphony
Orchestra, the Tanglewood Music Center Orchestra, and other
groups performing during the summer. Students are given ample
opportunity for private practice, and are expected to have the
self-motivation that is required for concentrated individual
work.
Every afternoon they attend the Listening and Analysis Semi-
nar, in which they study the broadest possible range of musical
compositions, with special emphasis upon those works being
performed by the Boston Symphony Orchestra and the other
ensembles during the Tanglewood Festival. Within the group
small chamber-music ensembles are formed, and the opportu-
nity for performance is provided at an informal concert given
once each week.
In the Listening and Analysis Seminar, students concentrate
upon the listening experience, with careful emphasis upon the
historical context, theoretical background, form, function,
genre, and emotional impact of the works under review. Particu-
lar attention is given to questions of performance and interpre-
tation, for in no other study situation are students so close to the
actual preparation of a performance as at Tanglewood. Members
of the Applied Music Study/Listenmg and Analysis Seminar
have the special privilege of attending the private rehearsals of
the Boston Symphony Orchestra, which are closed to the public,
in order to view first-hand the various stages of preparation and
rehearsal that lead up to each concert. Questions of tempo, bal-
ance, instrumentation, performing forces, articulation, histori-
cal style — all of these are reviewed in detail and discussed in
class both before and after each performance.
Each week guest lectures are arranged that cover the most
fascinating aspects of music and music-makmg: "What Does
a Concertmaster Do?," "Financing an Orchestra," "Program
Notes — Why Bother?," "Getting a Job as a Musician," "My Life
as a Conductor" — these are some of the topics that have been
18
Joseph Silverstein, music director of the Utah Symphony,
instructs string players during a sectional rehearsal.
presented in previous guest lectures by some of the most notable
personalities on the modern musical scene.
This program is deliberately designed to accommodate stu-
dents of the most widely divergent backgrounds, and has been
found to be highly rewarding by high-school and college-age stu-
dents, interested adults, music teachers, composers, and profes-
sional and amateur musicians of all ages. Individual projects are
developed to challenge every student at their own level. This
diversity is easily and comfortably absorbed within the context
of a small and hospitable study group.
The students in this program are provided with a pass which
entitles them to attend all the concerts of the Tanglewood
Summer Music Festival free of charge.
While this is a joint program, stressing the interdependence
between performance and educated listening, students who do
not wish to enroll for Applied Music Study may enroll in the
Listening and Analysis Seminar alone. Students may not enroll
in the Applied Music Study portion of this program alone.
19
GENERAL INFORMATION
Application
Instructions
To be considered for admission you must (1) submit your application and
fee payable to Boston University Tanglewood Institute and (2) audition
in person or by tape.
Application fee: The application fee is $30
Deadlines: March 14, 1986, is the application deadline for priority
admission. Applications received after March 14, 1986, will
be reviewed and considered if space is available.
The eagerness and joy
with which the Boston
University Young Artists
Orchestra absorbed every
musical moment gave me
great gratification and
hope for American youth.
Leonard Bernstein
Please refer to the application form regarding the following:
Items 1—9: Please print or type the information requested. Do not
leave any lines blank without explanation.
Item 10: Please fill out, completely, the Scholarship Application on
reverse side of the form if you are applying for scholarship. No Schol-
arship Application will be complete without a copy of Federal Tax
Form 1040. This form may be from 1984 or 1985.
Item 11: Enter the program and/or seminar for which you are apply-
ing. You may apply for more than one program; only one application
fee is required.
Item 12: Indicate your primary instrument or voice part. If you play a
second instrument (or if you are an instrumentalist who sings] we
would like to know of your ability. Please indicate if you are inter-
ested in doubling on this secondary instrument.
Items 13 and 14: Be sure to indicate whether you will audition in
person or by tape. Audition instructions (including those for tape)
can be found on page 22. Refer to the Audition Schedule and make an
appointment for your audition. If you are submitting a taped audi-
tion, you may mail your application either with the tape or cross-
reference separately. Mail both application and tape to:
Scott Schillin, Executive Director
Boston University Tanglewood Institute
855 Commonwealth Avenue
Boston, MA 02215
Items 15 and 16: Provide necessary information as applicable.
Item 17: Please obtain requested endorsements. Letters of recom-
mendation from your private teacher or others will be welcomed.
Also, you may attach to your application your own personal state-
ment, if you wish to do so. This statement could summarize your
musical experience and describe your objectives in attending the
Boston University Tanglewood Institute. In addition, you may
send copies of printed programs in which you performed recently.
COMPOSITION APPLICANTS: You must send three (3) represen-
tative scores of your work.
No application will be complete without all endorsements, or without
the applicant's signature at the bottom of the application.
21
GENERAL INFORMATION
Audition Instructions
Note: No audition is necessary when applying only for the
Listening and Analysis Seminar.
Applicants should choose pieces that demonstrate technical
and musical abilities in both (1) slow, sustained melodic lines
that indicate quality of tone, phrasing, and intonation, and (2)
brisk tempi that indicate technical fluency and articulation.
Instrumentalists
1. Winds and Brass
Your audition must include at least three solo works, one
of which should be an etude or study written expressly for
your instrument. In addition, you should include solo pas-
sages from the orchestral repertoire for your instrument.
2. Strings
Your audition must include at least three solo works, one
of which must be a complete sonata movement from the
Baroque, Classical, Romantic, or Contemporary era. In addi-
tion, you should include solo passages from the orchestral
repertoire for your instrument.
3. Percussion
Your audition must demonstrate proficiency on timpani,
snare drum, and a mallet instrument — either marimba,
vibraphone, or xylophone.
4. Pianists
Your audition must include four solo works representative
of the Baroque, Classical, Romantic, and Contemporary
eras.
Those instrumentalists who audition in person will be asked to
sight-read. All instrumental auditions must be played without
accompaniment.
Vocalists
Your audition must demonstrate good diction, accurate pitch,
pleasing tone quality, some knowledge of breath control, and a
concept of phrasing. Two solo songs (not "pop" tunes, jazz, or
rock) will best show these capabilities, but folk songs sung well
are acceptable. You must provide your own accompanist.
Composers
Composition applicants are not required to audition on an
instrument. Three representative scores of your work should be
submitted in lieu of an audition.
22
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All information will be held in confidence.
Boston University Tanglewo.od Institute 1986 Season
855 Commonwealth Avenue Application for Admission
Boston, Massachusetts 02215
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Other investments
GENERAL INFORMATION
In-Person Auditions:
Call the appropriate contact person shown on the Audition
Schedule pages. If you have questions, contact:
Boston University Tanglewood Institute
855 Commonwealth Avenue
Boston, Massachusetts 02215
Telephone: 617/353-3386
(Monday-Friday, 9-5 Eastern Time)
Taped Auditions for All Programs:
Follow the above instructions for auditioning for the program for
which you are applying. You must use cassette tape; no reel-to-
reel tape will be accepted. The tape must be of the best fidelity
and carefully recorded.
Begin the tape by announcing “My name is I am apply-
ing for the Program of Boston University Tanglewood
Institute. Today's date is For my audition I will perform
." Please identify each composition by title and
composer.
Tapes will not be returned to applicants. Obtain an extra copy
if you wish to keep one.
Label your tape: Tanglewood Tape Audition for
Program
Your name and return address
Your instrument or voice type
Wrap your tape or place it in a container. Enter the same labeling
information, “Tanglewood Tape Audition for " and
your name and return address, on the outside of your package.
Mail to: Scott Schillin, Executive Director
Boston University Tanglewood Institute
855 Commonwealth Avenue
Boston, Massachusetts 02215
You may mail your application form with the tape, or you may
submit your application in advance. Both must be received at
the above address no later than March 14, 1986, for priority
admission.
23
GENERAL INFORMATION
1986 Audition Centers
and Schedule
Arizona
Scottsdale (greater Phoenix area), January 4, 3-6 p.m.
Scottsdale Conference Resort, 7700 East McCormick Parkway
For appointment call Ms |amce MacKinnon (private residence:
602/946-7031).
Arkansas
Little Rock, February 2, 2:30-5:30 p.m.
University of Arkansas, Fine Arts Building, 33rd and University
For appointment call Ms. Martha Lancaster, Arkansas Symphony
(501/666-1761).
California
Los Angeles, January 23, 3-6 p.m.
Community School of the Performing Arts, 3131 S. Figueroa
For appointment call Mr. Joe Thayer between 10 a.m. and 5 p.m.
(213/743-5252).
Palo Alto, January 24, 2:30-5:30 p.m.
Palo Alto Cultural Center, 1313 Newell Road
For appointment call Ms. Martha Schwarz (private residence:
415/941-9195).
San Francisco, January 25, 12-6 p.m.
Davies Symphony Hall, enter stage door.
For appointment call Ms. Martha Schwarz (private residence:
415/941-9195).
Connecticut
Hartford, February 21, 12-3 p.m.
Camerata School of Music and Dance, 411 Park Road, W. Hartford
For appointment call Ms. Jane Knox (private residence: 203/429-8288)
between 6 and 10 p.m.
Florida
Ft. Lauderdale (greater Miami area), February 25, 3-6 p.m.
Symphony Hall, 1430 N. Federal Highway
For appointment call Ms. Mary Leila Bishop (private residence:
305/566-5590) between 6 and 10 p.m.
Sarasota, February 22, 3-6 p.m.
Riverview High School, One Ram Way
For appointment call Mr. John Ohaman (private residence:
813/924-6130).
Winter Park, February 24, 3:30—6 p.m.
Winter Park HS, 2100 Cummerfield Road
For appointment call Ms. Jean Workman (private residence:
305/645-4043).
Georgia
Atlanta, January 30, 3-6 p.m.
First Baptist Church, Peachtree Street
For appointment call Mr. or Mrs. Tom Rossiter (private residence:
404/923-4359) between 5 and 9 p.m.
24
GENERAL INFORMATION
Illinois
Winnetka (greater Chicago area), February 25, 3-6 p.m.
Music Center of the North Shore, 300 Green Bay Road
For appointment call the Boston University Tanglewood Institute Office
(617/353-3386).
Kentucky
Louisville, February 3, 4-9 p.m.
Youth Performing Arts Center, 1517 S. 2nd Street
For appointment call Ms. Sandra Cherry (private residence:
502/937-6193) after 4 p.m.
Louisiana
New Orleans, January 29, 1-6 p.m.
New Orleans Center for the Creative Arts
For appointment call Ms Alberta Basha or Mr. John Otis (504/899-0055).
Maryland
Baltimore, February 13, 3-6 p.m.
School for the Arts, 712 Cathedral Street
For appointment call Mr. H. Eugene Miller (private residence:
301/889-4736).
Massachusetts
Boston, March 14, 15, 16; times arranged.
Boston University School for the Arts, 855 Commonwealth Avenue
For appointment call the Boston University Tanglewood Institute Office
(617/353-3386).
Michigan
Detroit, February 11, 3—8 p.m.
Detroit Community Music School, 200 E. Kirby
For appointment call Mr. or Mrs. Gerald Clark (private residence:
313/273-6716).
Interlochen, February 26, times arranged.
Interlochen Arts Academy
For appointment call Ms. Mary Bozanic (616/276-9221) between 9 a.m.
and 5 p.m.
Minnesota
Minneapolis, December 14, 2-5 p.m.
MacPhail Center for the Arts
For appointment call Dr. or Mrs. Vern Sutton (private residence:
612/339-4483).
New Jersey
Summit, March 4, 2—8 p.m.
United Methodist Church, Deforest at Kent Place Boulevard
For appointment call Ms. Nancy Picchi (private residence: 201/761-1271).
New Mexico
Albuquerque, January 27, 3—6 p.m.
Sandia High School, 7801 Candelaria Street N.E.
For appointment call Ms. Bonnie Crusalis (private residence:
505/243-5772) between 6 and 10 p.m.
25
GENERAL INFORMATION
New York
Albany, February 11, 3-6 p.m.
SUNY Albany Performing Arts Center
For appointment call Ms. Gareth Miller (days: 518/438-8868; evenings:
518/436-7739).
Buffalo, March 5, 3-6 p.m.
SUNY Buffalo Music Department
For appointment call Dr. or Mrs. Anthony Paterson (private residence:
716/884-5759).
New York City, February 15, 9-5 p.m.
Carnegie Hall, Suite 852 (studio of Emilia Del Terzo), 154 W. 57th Street
For appointment call the Boston University Tanglewood Institute Office
(617/353-3386).
Rochester, March 6, 3-6 p.m.
Hochstein School of Music, Plymouth Avenue
For appointment call Mr. (ohn Perkel, Rochester Philharmonic (days:
716/454-2620; evenings: 716/442-0014).
North Carolina
Winston-Salem, January 30, times arranged.
North Carolina School of the Arts, 200 Waughton Street
For appointment call Mr. James Houlik (919/784-7170).
Ohio
Cincinnati, February 13, 3-6 p.m.
University of Cincinnati, College-Conservatory of Music
For appointment call Ms. Carol Schaljo (days: 513/475-3437; evenings:
513/861-5789).
Cleveland, February 12, 3-6 p.m.
Cleveland Institute of Music, 11021 East Boulevard
For appointment call Eleanor Holt at the Cleveland Institute Preparatory
Office (216/791-5165).
Oregon
Portland, January 21, 3-6 p.m.
Community Music School, 3350 S.E. Francis Street
For appointment call Ms. Margaret Moore (503/231-1955).
26
GENERAL INFORMATION
Pennsylvania
Philadelphia, February 22, 12—6 p.m.
Federal Reserve Bank, Sixth and Arch Streets
For appointment call Mr. or Mrs. Daniel Goldberg (private residence:
215/545-2543) between 6 and 9 p.m.
Pittsburgh, February 24, 3-6 p.m.
Heinz Hall, 600 Pennsylvania Avenue
For appointment call Ms. Bonnie Stockhausen (private residence:
412/881-2041).
Tennessee
Memphis, February 1, 3-6 p.m.
Memphis State University Music Department
For appointment call Ms. Amy Hughes (private residence: 901/372-8318).
Texas
Ft. Worth, January 27, 3-6 p.m.
Orchestra Hall, 4401 Trail Lake Drive
For appointment call Ms. Frieda Wise (817/923-3121).
Houston, January 28, 4-7 p.m.
High School of the Performing and Visual Arts, 4001 Stanford
For appointment call Ms. Kirsten Dennis
Houston Youth Symphony (713/528-4663).
Virginia
Fairfax, February 16, 1-5 p.m.
George Mason University, Humanities Module
For appointment call Mr. or Mrs. Marc Turgeon (private residence:
703/273-1310).
Washington
Seattle, January 20, 2:30-5:30 p.m.
University of Washington, Department of Music
For appointment call Ms. Margot Blacker (private residence:
206/454-1832).
Washington, D.C.
See Virginia and Maryland.
Wisconsin
Madison, February 12, times arranged.
University of Wisconsin School of Music, 1621 Humanities Building
For appointment call Ms. Karen Richardson (608/263-3320).
27
GENERAL INFORMATION
Financial Information
and Fee Schedule
July 1 -August 26, 1986
Eight-Week Programs and
Seminars
Tuition
Residence Hall Room Reservation
Residence Hall (including room, breakfast, and dinner daily)
TMC Registration/Activities Fee
TOTAL
$1,300*
50
1,290
50
$2,690
Session 1: July 1-27, 1986
Session II: July 29-August 26, 1986
Four- Week Programs and Seminars
Tuition $ 950*
Residence Hall Room Reservation 50
Residence Hall (including room, breakfast, and dinner daily) 700
TMC Registration/ Activities Fee 50
TOTAL $1,750
A non-refundable deposit of $150 is required upon receipt of
notice of acceptance. This deposit is applicable toward tuition
and other fees. Remaining fees are payable in full at registration.
'Tuition for the Listening and Analysis Seminar without
Applied Music Study is $425 for a four-week session; $800
for the eight-week session. All other fees apply.
28
GENERAL INFORMATION
Scholarship
Information
Scholarships may be awarded to students applying for admis-
sion to any of the programs or seminars of the Boston University
Tanglewood Institute. Awards are based upon merit and finan-
cial need.
Any student wishing to be considered for a scholarship must
complete the Institute Scholarship Application, which requires
the submission of the family's Federal Tax Form 1040 for 1984 or
1985, or a form with equivalent financial information. Scholar-
ships will be considered at the same time as the application for
admission. The deadline for scholarship applications is March
14, 1986.
The Institute makes every effort to award grants appropriate
to each student's need and merit. In addition to funds available
through the Institute, each student is urged to inquire about
financial assistance granted through other organizations such as
school systems, religious and civic organizations, and local cor-
porations and foundations. Such grants have made it possible for
large numbers of students to enroll at the Institute each year.
The Boston University Tanglewood Scholars Program
The Boston University School of Music and the Tanglewood
Institute are pleased to offer scholarships for selected seniors
attending the Institute who will be entering the School of Music
in the fall of 1986. These awards are granted on the basis of artis-
tic merit as well as financial need.
For further information please contact Joyce Silberman,
Director of Admissions, Boston University School of Music,
855 Commonwealth Avenue, Boston, Massachusetts 02215;
telephone 617/353-4241.
29
GENERAL INFORMATION
Registration
All eight-week and Session I four-week programs will have
registration at the West Street Campus Saturday, June 28, and
Sunday, June 29. Registration for Session II four-week programs
will take place on Tuesday, July 29, on the Tanglewood grounds.
Attendance may not begin until all fees have been paid.
Make checks and money orders payable to Boston University
Tanglewood Institute.
Refunds
The $30 application fee and $150 deposit are not refundable.
Should a student be dismissed or expelled, no refund will be
given. Should it be necessary for a student to withdraw, refunds
will be made on a prorated basis. After the scholarship funds,
deposits for tuition, registration/activities fees, and residence
hall room reservation fee are deducted, refunds for tuition and
room/board will be made according to the following schedule.
All eight-week programs, 1986
Prior to the start of program (before July 1) 100%
During the first week of program (July 1 -July 7) 80%
During second week of program (July 8-July 14) 70%
After second week of program (from July 15) 0%
All four-week programs beginning July 1, 1986
Prior to start of program (before July 1) 100%
During first week of program (July 1 -July 7) 70%
After first week of program (from July 8) 0%
All four-week programs beginning July 29, 1986
Prior to start of program (before July 29) 100%
During the first week of program (July 29-August 4) 70%
After first week of program (from August 5) 0%
The University reserves the right in its sole judgement to
make changes of any nature in program, calendar, or academic
schedule whenever it is deemed necessary or desirable, includ-
ing changes in course content, rescheduling of classes with or
without extending the academic term, canceling of scheduled
classes and other academic activities, and requiring or affording
alternatives for scheduled classes or other academic activities,
in any such case giving such notice thereof as is reasonably prac-
ticable under the circumstances.
Boston University's policies provide for equal opportunity and
affirmative action in employment and admission to all programs
of the University.
30
GENERAL INFORMATION
Housing
Boston University owns and operates two residence facilities
for its students. West Street Campus, a sixty-four-acre estate,
is located within walking distance of Tanglewood in Lenox,
Massachusetts. It contains sprawling lawns, fields, and wood-
lands, and has recreational facilities for softball, soccer, vol-
leyball, and tennis. Students are housed in dormitory-style
buildings and a turn-of-the-century mansion. Most of the rooms
are multiple-occupancy. Common rest-room and bath facilities
are located on each floor of the residential buildings. Breakfast
and dinner are served in a large modern cafeteria. The West
Street Campus also includes classroom facilities, practice sheds,
and a 300-seat theatre.
Indian Elill is located in Stockbridge, Massachusetts, approxi-
mately five miles from the Tanglewood grounds. It is a twelve-
acre estate containing majestic lawns situated on one of the
foothills of the Berkshire mountain range. It has recreational
facilities for volleyball and a large in-ground, four-lane pool. Stu-
dents are housed in the estate's mansion, or in a variety of lodge
and cabin-style buildings. The majority of student rooms are
multiple-occupancy. Common rest-room and bath facilities are
located in each building. Breakfast and dinner are served in a
small, modern dining room. Practice sheds, an outdoor theatre,
and a large, free-standing dance studio can also be found on the
Indian Hill campus.
Free shuttle bus service is provided between both campuses
and the Tanglewood grounds.
Students are assigned to a specific residence hall based on
their Boston University Tanglewood Institute program, their age,
and their sex.
Both campuses are supervised by the Boston University
Tanglewood Institute Student Life Staff. These individuals have
either recently earned a degree, or are upperclass or graduate
students. They are trained and skilled in peer counseling, com-
munity dynamics, and crisis intervention. They ensure that
campus life is conducive to the positive change and growth of
Boston University Tanglewood Institute students.
A small infirmary, with a registered nurse on duty, will be
open during regularly scheduled hours on weekdays. The nurse
may be consulted on routine medical problems without charge
to the student.
In case of a serious medical condition or emergency, a student
will be immediately put under the care of a physician, hospital,
and/or ambulance service in the Lenox area. The student or par-
ent/guardian is responsible for all charges. There is no medical
insurance available at Tanglewood; therefore if insurance cov-
erage is desired, it should be purchased from an independent
agency prior to the student's arrival at Tanglewood.
32
GENERAL INFORMATION
Breakfast and dinner are included in the dormitory fee. Lunch
may be purchased on the Tanglewood grounds or at the snack
bar/vending machine facilities at the residence halls. A student
may obtain a nutritious lunch for approximately $2 to $3 per
day.
Menus for breakfast and dinner are planned, taking into
account factors of nutrition and appetite, to appeal to the major-
ity of students. Therefore, special dietary requests cannot be
fulfilled on an individual basis. There are no cooking facilities
available for student use.
Rules and Regulations governing student conduct while
enrolled in Boston University Tanglewood Institute programs
are given to each student upon registration at Tanglewood.
Infractions of the rules may result in dismissal. If a student is
dismissed for violation of the written regulations of the Boston
University Tanglewood Institute, no refund will be given. It
should be understood that Tanglewood is a center for serious
students of music. It is not a summer camp. A student's failure
to act appropriately can interfere with the work of other stu-
dents and prevent them from obtaining maximum benefit from
the Tanglewood programs.
33
GENERAL INFORMATION
Transportation to
Tangle wood
Visitors to Tanglewood
By Car
Tanglewood is close to the major cities of New England and
New York. Follow the Massachusetts Turnpike to Exit 1 (West
Stockbridge) or Exit 2 (Lee-Lenox). Signs mark the route to
Tanglewood. The main entrance is 1.4 miles west of the center of
Lenox; West Street Campus is ]ust .3 mile on State Route 183
(West Street).
By Bus
Lenox and Pittsfield are served by the regularly scheduled
buses of Greyhound and New England Trailways from New York
City, Albany, and Boston. Service is provided by Bonanza Bus
Line from the Port Authority Terminal in New York City and the
Greyhound Terminal in Albany.
By Plane
When this publication went to print, no commercial airline
had flights scheduled to Pittsfield, Massachusetts, whose airport
is near Tanglewood. Commercial airline service is available to
Albany Boston, Hartford/Springfield, and New York City with
bus connections to Lenox.
By Train
Amtrak travels from Boston to Pittsfield once daily. There is no
direct service from New York City to Lenox-Pittsfield. Amtrak
does travel from New York to Pittsfield with a change of tram at
New Haven, Connecticut, and a change of tram at Springfield,
Massachusetts. Reservations must be made for the Sprmgfield-
to-Pittsfield train.
Parents, relatives, and friends who plan to visit students dur-
ing the summer should make room reservations well in advance
of their arrival. During most of the Symphony concert weekends
it is impossible to obtain a last-mmute reservation in the envi-
rons of Tanglewood. Excellent information about the Berkshires,
including a complete listing of guest rooms, inns, and motels,
may be obtained from:
The Berkshires Visitors Bureau
Berkshire Common
Pittsfield, Massachusetts 01201
1-800/BERKSHR
(if calling from NY, NJ, PA, or any New England state except MA)
413/443-9186 (if calling from any other state)
34
GENERAL INFORMATION
Neither room reservations nor reservations for concert tickets
can be made by Boston University Tanglewood Institute. Tickets
for seats in the Music Shed for Boston Symphony Orchestra
concerts can be obtained from:
Box Office, Tanglewood
Symphony Hall
Boston, MA 02115
Telephone: 617/266-1492
After June 10, 1986, contact:
Box Office
Tanglewood
Lenox, MA 01240
Telephone: 413/637-1600
During all Boston Symphony concerts, there is a charge for
admission to the Tanglewood grounds. For all Tanglewood
Music Center events including performances by Boston
University Tanglewood Institute ensembles, contributions
are requested for the Friends of Music at Tanglewood.
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35
GENERAL INFORMATION
Biographies
Scott Schillin
is the Executive Director of the Boston University Tanglewood
Institute. He received undergraduate and graduate degrees in
piano from Oberlin Conservatory and Indiana University where
his teachers included Emil Danenberg, Gyorgy Sebok, and
Menahem Pressler. He has served as Director of Undergraduate
Music Admissions and Freshman Counseling at Indiana Univer-
sity and Assistant Dean of Music/Piano faculty at the North
Carolina School of the Arts. He has concertized throughout the
United States and Canada as a solo and collaborative pianist.
Phyllis Curtin
is the Dean of Boston University's School for the Arts. She stud-
ied opera with Boris Goldovsky and voice with Olga Averino
and Joseph Regneas. Miss Curtin has sung professionally in the
United States, Western Europe, Israel, Australia, and New Zea-
land, and was the leading soprano for the New York City Opera,
the Metropolitan Opera, the Vienna Staatsoper, La Scala, and the
Teatro Colon. Since 1963 Miss Curtm has been Artist-in Resi-
dence at Tanglewood. She has also taught at the Aspen Music
Festival, and has conducted master classes at a number of uni-
versities. She was coordinator of the Voice Department and
Opera at the Yale School of Music before coming to Boston
University.
Leonard Atherton
was a Choral Conducting Fellow at Tanglewood. Mr. Atherton
has directed choruses for the University of Pennsylvania and the
Canadian Broadcasting Corporation. He has been guest conduc-
tor of the Baltimore Symphony, the Minnesota Orchestra, the
St. Paul Chamber Orchestra, and is currently conductor of the
Muncie Symphony and director of orchestral programs at Ball
State University.
Alan Balter
cited by National Public Radio as "one of the three or four
most important young conductors today," is the music director
of the Akron and Memphis symphony orchestras. Recently, he
has been guest conductor of the American Symphony, and the
Atlanta, Buffalo, Oakland, and St. Louis orchestras. He has also
conducted most of the major orchestras in Japan, including the
New Japan Philharmonic, Osaka Philharmonic, and Sapporo
Symphony. In 1976 he was awarded the first prize in the presti-
gious Min-on International Concours held in Tokyo. He has also
had the distinction of being invited by the Mexican government
and Mexico City's Anahuac University to conduct a series of
sixteen concerts.
36
GENERAL INFORMATION
Leone Buyse
is a teaching associate at the Boston University School of Music
and assistant principal flutist of the Boston Symphony Orches-
tra. Ms. Buyse graduated with distinction from the Eastman
School of Music where she was a student of Joseph Mariano,
and continued her education on a Fulbright grant studying with
Michel Debost, Jean-Pierre Rampal, and Marcel Moyse. She has
appeared as soloist with l'Orchestre de la Suisse Romande, the
San Francisco Symphony, and the Rochester Philharmonic.
Doriot Anthony Dwyer
is Adjunct Professor of Music at the Boston University School of
Music and principal flutist of the Boston Symphony Orchestra.
Mrs. Dwyer received her Bachelor of Music degree and the Per-
former's Certificate from the Eastman School of Music. She has
studied with William Kincaid and is former principal flutist of
the National Symphony and the Eos Angeles Philharmonic.
The Empire Brass
winner of the 1976 Naumburg Chamber Music Award and the
1980 Harvard Musical Association Prize, began its career with
a performance at the First Annual New York Brass Conference.
The group has given special performances for Queen Elizabeth,
the President of the United States, Carnegie Hall's Ninetieth
Anniversary, and on national television. They have made several
highly successful tours of Europe and the Orient. The Empire
Brass is Quintet-in-Residence at Boston University, and records
for Sine Qua Non and Columbia.
Norman Fischer
has served as cellist for the renowned Concord String Quartet
since it was founded in 1971. A graduate of the Interlochen Arts
Academy and the Oberlin Conservatory of Music, Mr. Fischer
has toured extensively with the Quartet and as a soloist through-
out the United States and abroad. Mr. Fischer is a highly re-
spected teacher and coach known for his master classes.
Margo Garrett
has established herself as one of today's leading collaborative
pianists. In the 1985—86 season alone, she will be heard with
many performers, including cellist Sharon Robinson, violinist
Jaime Laredo, violist Paul Neuhauer, and soprano Dawn Upshaw.
In addition to keeping a busy concert schedule, Miss Garrett has
become a favorite at leading American colleges and universities
for her master classes in accompanying and vocal literature.
Miss Garrett is on the faculty at the Juilliard School, Queens
37
GENERAL INFORMATION
College, and the Tanglewood Music Center. She has recorded
for RCA, Grenadilla Records, Musical Heritage Society, Orion
Master Recordings, and Second Hearing.
Joan Heller
soprano, is chairman of the Voice Department at the Boston Uni-
versity School of Music, and Director of the Young Artists Vocal
Program. A graduate of Oberlin College and the New England
Conservatory, she holds certificates from the Mozarteum in
Salzburg, the Holland Festival, and the Tanglewood Music Cen-
ter where she received the C.D. Jackson Prize and the High Fidel-
lty/Musical America Prize. She has sung under the direction of
Seiji Ozawa, Gunther Schuller, Michael Tilson Thomas, and
Arthur Weisberg. Her extensive repertoire includes vocal orches-
tral literature, chamber music, song literature, and dramatic
solo music. She is one of the founding members of COFFAGE
Contemporary Ensemble in Boston.
Raphael Hillyer
is professor of music and chairman of the String Department of
the Boston University School of Music. As a violist and co-foun-
der of the Juilliard String Quartet, Mr. Hillyer has performed
thousands of concerts throughout the world. He played with
the Boston Symphony Orchestra under Serge Koussevitsky, and
the NBC Symphony under Arturo Toscanini. As a soloist, Mr.
Hillyer has appeared in all the major halls in this country and
has made solo tours of the Far East, Europe, and South Amer-
ica. In addition to his recordings with the Juilliard Quartet,
Mr. Hillyer has recorded the viola concertos of Bartok and
Hindemith.
Maria Clodes Jaguaribe
is a member of the piano faculty at the Boston University
School of Music. A native of Brazil, Ms. Jaguaribe graduated
from the Conservatory of Music in Rio de Janeiro and continued
her studies in Austria, Germany, and England. After coming to
the United States, she earned the Doctor of Musical Arts degree
at Boston University under Bela B. Nagy. In addition to numer-
ous concert appearances, Ms. Jaguaribe has recorded for Tele-
funken-Decca Records.
Mark Kroll
is an Associate Professor of Harpsichord and Theory at the
Boston University School of Music, where he also serves as
Director of the Early Music Series. Mr. Kroll is the recipient
of a grant from the Martha Baird Rockefeller Foundation. His
recordings can be heard on AFKA, Telarc, Titanic, and Sine Qua
38
GENERAL INFORMATION
Non, and he has performed often on radio and television here
and abroad. Mr. Kroll is harpsichordist for the Boston Symphony
Orchestra.
Lucile Lawrence
harp soloist and recording artist, is head of the Harp Department
at the Boston University School of Music. She wrote The ABC of
Harp Playing, and collaborated with Carlos Salzedo in writing
other instructional material, including Method for the Harp. For
several years Miss Lawrence has been a judge at the Interna-
tional Harp Contest in Israel, and is National Past President of
the American Harp Society.
The Muir String Quartet
is recipient of both the Naumburg Chamber Music Award and
First Prize in the Evian International String Quartet Competi-
tion. The Quartet has made numerous tours of Europe and per-
forms extensively throughout the United States. The Muir
String Quartet is in residence at the Boston University School
of Music.
Eiji Oue
is Music Director of the Greater Boston Youth Symphony
Orchestra (GBYSO), the Boston Mozarteum Chamber Orchestra,
and the Brown University Orchestra. A native of Hiroshima,
Japan, Mr. Oue studied at the Toho School of Music and the New
England Conservatory. Mr. Oue attended the Tanglewood Music
Center in 1980; in 1981, he won the Hans Haring First Prize in
the Salzburg Conducting Competition. In the summer of 1985,
Mr. Oue conducted the GBYSO on a six-concert European tour.
Later that summer, with Leonard Bernstein, he conducted the
European Community Youth Orchestra in a concert tour of
Athens, Hiroshima, Budapest, and Vienna before assuming his
responsibilities as conductor of the Young Artists Orchestra at
Tanglewood.
Robert Ripley
is a member of the Boston Symphony Orchestra and a member
of the Cambridge String Quartet. Mr. Ripley has done extensive
chamber music and solo work.
Allen Rogers
Associate Professor of Music at Boston University, was accompa-
nist for Jennie Tourel, Eileen Farrell, fan Peerce, Leopold Simo-
neau, and Roberta Peters. He has recorded for the Columbia and
Westminster labels. In 1983, Professor Rogers received Boston
University's Metcalf Award for Excellence in Teaching.
39
GENERAL INFORMATION
Matthew Ruggiero
is a bassoonist with the Boston Symphony Orchestra and princi-
pal bassoonist of the Boston Pops Orchestra. A native of Phila-
delphia, he graduated from Curtis after studying with Ferdinand
del Negro, Sol Schoenbach, and Marcel Tabuteau. Before joining
the Boston Symphony Orchestra, he played with the National
Symphony in Washington, D.C., and he played solo bassoon at
the Marlboro Music Festival under the direction of Rudolf
Serkin. In 1967 he toured the U.S.S.R. as a member of the BSO
Chamber Players and performed with that group in a recording
of Mozart's Grand Partita and the chamber music of Stravinsky.
Mr. Ruggiero, a 1984 graduate of Flarvard University, teaches at
the Boston University School of Music.
Joseph Silverstein
is Music Director of the Utah Symphony and former Concert-
master and Assistant Conductor of the Boston Symphony
Orchestra. Mr. Silverstein is Artist-m-Residence at the Tangle-
wood Music Center.
Robert Sirota
is the Director of the Boston University School of Music, where
he serves as Co-Director of the Music of the Twentieth Century
concert series. Dr. Sirota pursued his early studies at the Juilliard
School and holds a Bachelor of Music degree in piano and com-
position from Oberlin Conservatory. After study in France with
Nadia Boulanger, he received his doctorate from Flarvard Univer-
sity, where his teachers were Earl Kim and Leon Kirchner. Fie
has been granted fellowships by the National Endowment for
the Arts and the Thomas J. Watson Foundation, and was the
winner of a John Simon Guggenheim grant for 1983-1984.
Victoria Ressmeyer Sirota
was a 1984-1985 postdoctoral Fellow at the Bunting Institute
of Radcliffe College. Currently, she is on the music theory and
organ faculties at Boston University, and also teaches courses at
Northeastern University. Her undergraduate work was done at
the Oberlin Conservatory of Music, and she earned a D.M.A.
at Boston University in 1981. She has received research grants
and fellowships from the Woodrow Wilson Foundation, the
Deutscher Akademischer Austauschdienst, and Oberlin Col-
lege. She was the organist, producer, and annotator for a recent
release on Northeastern Records, Fanny Mendelssohn Hensel
Rediscovered.
40
GENERAL INFORMATION
Peter Gram Swing
will direct Session II of the Listening and Analysis Seminar. He
is Daniel Underhill Professor of Music and Director of the Cho-
rus at Swarthmore College. He has undergraduate and graduate
degrees from Harvard, and his Ph.D. in musicology from the
University of Chicago. He teaches courses in Medieval and Ren-
aissance music, J.S. Bach, W.A. Mozart, and the history of the
string quartet, as well as an introductory music course, and is an
amateur cellist as well as a professional conductor.
Roger Voisin
is one of the world's most prominent trumpeters. For over
twenty-five years he served as trumpet soloist for the Boston
Symphony Orchestra. Through his series of solo albums, many
of which included first recordings of various Baroque and Classi-
cal works for trumpet, Mr. Voisin greatly influenced the revival
of interest in music for brass instruments. He is currently Pro-
fessor of Music and Chairman of the Department of Woodwinds,
Brass, and Percussion at the Boston University School of Music.
Jeremy Yudkin
Assistant Professor at the Boston University School of Music,
will direct Session I of the Listening and Analysis Seminar. He
received his Bachelor and Master of Arts degrees in Classics and
Modern Languages at Cambridge University, and his Ph.D. from
Stanford University where he was the Steven Fox Memorial
Prize winner. Mr. Yudkin taught music and liberal arts in his
native England before emigrating to the United States. He was
awarded a fellowship from the National Endowment for the
Humanities for 1985.
41
GENERAL INFORMATION
Boston Symphony Orchestra members who participated in the
Boston University Tanglewood Institute during 1985 are listed
below.
Cecylia Arzewski, violin
Robert Barnes, viola
Ronald Barron, trombone
Norman Bolter, trombone
Leone Buyse, flute
Pasquale Cardillo, clarinet
Peter Chapman, trumpet
Marylou Speaker Churchill, violin
Andre Come, trumpet
Nancy Mathis DiNovo, violin
Doriot Anthony Dwyer, flute
Gerald Elias, violin
Ronald Feldman, cello
Thomas Gauger, percussion
Ralph Gomberg, oboe
Peter Hadcock, clarinet
Bo Youp Hwang, violin
Bernard Kadinoff, viola
Ronan Lefkowitz, violin
Luis Leguia, cello
Amnon Levy, violin
Mark Ludwig, viola
Richard Mackey, horn
Leslie Martin, bass
Joseph McCauley, violin
Jonathan Miller, cello
Ikuko Mizuno, violin
Joel Moerschel, cello
Mischa Nieland, cello
Craig Nordstrom, clarinet
James Orleans, bass
Fredy Ostrovsky, violin
Arthur Press, percussion
Robert Ripley, cello
Sheldon Rotenberg, violin
Matthew Ruggiero, bassoon
Lois Schaefer, flute/piccolo
Charles Schlucter, trumpet
Jennie Shames, violin
Charles Smith, percussion
Laurence Thorstenberg, oboe
Roger Voisin, trumpet
Vyacheslav Uritsky, violin
fay Wadenpfuhl, horn
Gottfried Wilfinger, violin
Lawrence Wolfe, bass
Michael Zaretsky, viola
42
GENERAL INFORMATION
Tanglewood Music Center Fellowship Program and
Tanglewood Seminars
For experienced performers who have completed most of
their formal training and are at least eighteen years old, the
Fellowship Program provides an opportunity to participate in
a demanding schedule of study and public performance. The
140 Fellows include instrumentalists, singers, composers, and
conductors, all selected through highly competitive auditions.
Those admitted to the Program are awarded Fellowships that
underwrite the full cost of their tuition for the summer. While
all members are asked to contribute toward the cost of their
housing for the eight-week session, stipends are available to
assist with room, board, and travel expenses in cases of demon-
strable need.
Each summer, instrumentalists in the Fellowship Program
perform in orchestra concerts directed by Seiji Ozawa, Kurt
Masur, Leonard Bernstein, and other guest conductors from
the Tanglewood Festival, as well as by the young conductors
enrolled in the Program. Coached by Boston Symphony Orches-
tra members, instrumentalists perform in numerous chamber
music concerts as well and, with the singers and conductors,
participate in Tanglewood's annual Festival of Contemporary
Music. Singers in the Fellowship Program work with Phyllis
Curtin and other vocal-music faculty in preparing performances
of works from the song and vocal chamber-music literature. Fel-
lows in Composition work independently under the guidance of
each season's Composer-in-Residence, and have the opportunity
to hear their works performed by members of the Program in
public concerts.
The Tanglewood Seminars include the Phyllis Curtm Semi-
nar for singers (master classes with Miss Curtm and intensive
instruction in solfege, languages, diction, and repertoire), the
Seminar for Conductors (intensive instruction for a limited
number of young conductors) and, together with the Boston
University Tanglewood Institute, the Listening and Analysis
Seminar (meetings with noted musicologists and performers for
discussion and analysis of selected Tanglewood repertoire).
The Tanglewood Music Center publishes a brochure and an
audition schedule for the Fellowship Program and the Tangle-
wood Seminars. Complete information may be obtained by call-
ing or writing to the office of the Tanglewood Music Center,
Symphony Hall, Boston, Massachusetts 021 15; telephone
617/266-5241.
43
GENERAL INFORMATION
Boston University School of Music
The Boston University School of Music thrives in the center
of Boston's musical and cultural activities. Just a few transit
stops away from the concert halls, theatres, and museums that
make Boston an arts center, the six-story School for the Arts
building houses the teaching studios and classrooms of many of
the region's finest professional musicians, practicing artists, and
publishing scholars and composers.
The School of Music combines the intensity of a conservatory
with the richness of a liberal arts education. As the first univer-
sity in the nation to award a baccalaureate degree in music, it is
proud to still offer, more than a hundred years later, a profes-
sional, private, teaching environment combined with the great
variety of courses available in a large, cosmopolitan university.
The curriculum has been carefully designed with the profes-
sional needs of the student in mind. Degrees are offered in per-
formance, history and literature, theory and composition, and
music education at the bachelor's, master's, and doctoral levels.
There are nearly 300 courses to choose from in the current Bul-
letin, allowing ample opportunity for specialization and
diversity.
The main activity at the School is the making of music. Stu-
dents perform regularly with ensembles such as the orchestra,
wind ensemble, brass ensemble, percussion ensemble, concert
choir, women's chorus, opera theatre, and two Collegiums. In
addition, there are some fifty chamber groups at the School.
Students have the chance to hear and work with resident
ensembles which include the Empire Brass, the Muir String
Quartet — both winners of the Naumburg Chamber Music
Award — and Alea III, the contemporary music ensemble. While
not all faculty can be mentioned in this space, the roster
includes such artists as pianist Anthony di Bonaventura, com-
poser Bernard Rands, and soprano and Dean of the School for the
Arts, Phyllis Curtin.
For further information contact Ms. Joyce Silberman, Director
of Admissions, Boston University School of Music, 855 Com-
monwealth Avenue, Boston, MA 02215; telephone 617/353-4241.
44
Photo Credits:
Boston Symphony
Orchestra Archives
Eugene Cook
Gary A. Curtis
John Fairval
George Ferrar
Fincoln Russell
Walter FI. Scott
Unquestionably, the training was of the highest caliber. I bene-
fited immensely from the opportunity to study with members
of the Boston Symphony Orchestra and with other distin-
guished artists, including Leonard Bernstein, who conducted a
reading rehearsal with our orchestra. The professional instruc-
tion obtained, the friendships developed, and the feeling of self-
reliance discovered within myself at Tanglewood have enriched
my life immeasurably. Although my fellow young artists had
much in common, especially their dedication to and love of
music, there was such diversity among the student body that
one was constantly challenged and stimulated by different per-
spectives and beliefs. These musicians came from all over the
world, and this added significantly to the richness of the atmo-
sphere in which I worked.
Mary Ellen Nagle
Violin student
I have been involved in summer music programs for the last four
years. However, this summer at Tanglewood was by far the most
beneficial learning and social experience.
Claudia Showalter
Keyboard student
I want you to know that Jeff has had the most exciting summer
of his life — a life-changing summer, really. Musically, as a mem
her of a group, as a truly broadening, enriching experience, the
Institute far exceeded our expectations.
SFA J5
Parent of student
on University Tanglewood Institute
Commonwealth Avenue
>n, Massachusetts 02215
First Class Mail
U.S. POSTAGE
PAID
Boston University
Tanglewood
SEIJI OZAWA, Music Director
JUNE 27- AUGUST 31
For music lovers, summer is synonymous with
Tanglewood, the summer home of the Boston
Symphony Orchestra for nearly half a century.
The 1986 Tanglewood season offers 10 weeks of
magnificent performances by the Boston Symphony
Orchestra under Music Director Seiji Ozawa and an
array of exciting guest conductors along with an
outstanding roster of leading soloists. Tanglewood
also presents weekly chamber music concerts in
the Theatre-Concert Hall, Friday-evening Preludes
in the Shed, and Saturday-morning Open Rehear-
sals. Make this a Tanglewood summer and join the
Boston Symphony in concert all summer long.
For ticket information, call the Tanglewood
Box Office (413) 637-1940; Administrative Offices
(413)637-1600.
LEON FLEISHER, Artistic Director
THE FELLOWSHIP PROGRAM of the Tanglewood
Music Center is sponsored by the Boston Symphony
Orchestra each summer to offer an intensive pro-
gram designed for outstanding young musicians in
their transition from formal education to profes-
sional status. Under the guidance of a faculty of
recognized performer/teachers including the princi-
pal players of the Boston Symphony Orchestra,
these young artists study, rehearse, and perform up
to the most rigorous and challenging standards,
refining their musicianship and expanding their
knowledge of the repertory.
These gifted instrumentalists, singers, conduc-
tors, and composers combine their talents each
week throughout the summer in programs ranging
from chamber music to full orchestral concerts.
BOSTON UNIVERSITYTANGLEWOOD
INSTITUTE (BUTI) Since 1966, Boston University
has operated the programs of the Boston University
Tanglewood Institute to offer additional training to
younger musicians at Tanglewood. Today, over 300
young people, mostly high school students, take
part in ten different programs offered each season
through the Institute. BUTI students also perform
concerts throughout the summer.
All concerts are held in the Theatre-Concert Hall
or Chamber Music Hall. Seats are unreserved and
available for a contribution of $5 ($6 for orchestra
concerts). Tanglewood Friends are admitted with-
out additional charge.
Center (tmc)
Festival of
Contemporary Music (FCM)
AUGUST 2-7
The 1986 Festival of Contemporary Music coordinated by
Composer-in-Residence Oliver Knussen will present
works by the world’s leading composers, including Henze,
Takemitsu, Sessions, Wolpe, Carter, and Perle. In addi-
tion, for the first time at Tanglewood, a series of Electro-
Acoustic Preludes surveying recent work from electronic/
computer music studios worldwide will be presented
prior to several FCM programs. Join us for this opportunity
to encounter the music of our time.
All concerts take place in the Theatre-Concert Hall.
Seats for concerts presented Saturday through Monday are
unreserved and available one hour before the concert for a
contribution of $5. Seats for the Wednesday concert are
unreserved and available one hour before the concert
for a contribution of $6. Seats for the Tuesday and Thursday
concerts are reserved and available through the Tanglewood
Box Office, 413-637-1940.
Tanglewood Friends are admitted to all concerts except
Thursday without additional charge.
Talks and Walks
“Talks and Walks" is a series of six lecture-luncheons
introduced by members of the Tanglewood Family and
available exclusively to Friends of Tanglewood. The cost
for the series is $18.00 and individual tickets are $3.50.
Reservations may be made through the Tanglewood
Friends Office.
June July
27
FRIDAY
7:00 PM, SHED
PRELUDE
MALCOLM FRAGER, piano
Music of Carl Maria von Weber
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
CHARLES DUTOIT, conductor
MARILYN HORNE, mezzo-soprano
Music of Mozart, Handel, Ravel,
and Mussorgsky
28
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Sunday program)
8:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
CHARLES DUTOIT, conductor
MALCOLM FRAGER, piano
Music of Weber and Stravinsky
29
SUNDAY
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
CHARLES DUTOIT, conductor
BENITA VALENTE, soprano
LORRAINE HUNT, soprano
MARK DuBOIS, tenor
JOHN OSTENDORF, bass
TANGLEWOOD FESTIVAL CHORUS,
JOHN OLIVER, conductor
All-Mozart Program
■-For ticket information, call tbe
Tanglewood Box Office (413) 637-1940;
Administrative Offices (413) 637-1600.
-All concerts are held in the Theatre-
Concert Hall or Chamber Music Hall.
Seats are unreserved and available for a
contribution of $5 ($6 for orchestra
concerts). Tanglewood Friends are
admitted without additional charge.
Free parking.
All programs subject to change
Baldwin piano
Photo credits Walter H Scott, Lincoln Russell
Design Jaycole Advertising Inc.
TUESDAY
2:00 PM
TANGLEWOOD MUSIC CENTER
OPENING EXERCISES
(admission free: open to the public)
8:30 PM, THEATRE-CONCERT HALL
BOSTON SYMPHONY CHAMBER PLAYERS
GILBERT KALISH, piano
PASCAL VERROT, conductor
Music of Haydn, Boulez, Hindemith,
and Beethoven
THURSDAY
8:30 PM, THEATRE-CONCERT HALL
RICHARD STOLTZMAN, clarinet
RICHARD GOODE, piano
Music of Schubert, Debussy, Ives, Schumann.
Bernstein, and Gershwin
FRIDAY
FOURTH-OF-JULY CELEBRATION
Afternoon events beginning at 2:30 PM
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
MICHAEL TILSON THOMAS,
conductor and pianist
DORIOT ANTHONY DWYER, flute
Music of Copland, Gershwin, Griffes,
and Respighi
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Sunday program)
8:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
MICHAEL TILSON THOMAS,
conductor and pianist
MALCOLM FRAGER, piano
GILBERT KALISH, piano
Music of Bach and Mozart
SUNDAY
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA, conductor
LEON FLEISHER, piano
Music of Mendelssohn. Britten, and Strauss
TUESDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Tanglewood Music Center Orchestra
Seiji Ozawa & Conducting Fellows
conducting
Program to include
BEETHOVEN Symphony No. 7
WEDNESDAY
8:30 PM, SHED
POPS AT TANGLEWOOD
BOSTON POPS ORCHESTRA
JOHN WILLIAMS, conductor
THURSDAY
NOON, TENT
TALKS AND WALKS
LEON FLEISHER, artistic director,
Tanglewood Music Center
8:30 PM, THEATRE-CONCERT HALL
BEAUX ARTS TRIO
Music of Mozart, Ives, and Schubert
FRIDAY
7:00 PM, SHED
PRELUDE
TANGLEWOOD FESTIVAL CHORUS,
JOHN OLIVER, conductor
All-Britten Program
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA, conductor
ANDREI NIKOLSKY, piano
Music of Tchaikovsky and Prokofiev
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Saturday program)
8:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA, conductor
VIKTORIA MULLOVA, violin
JANICE TAYLOR, mezzo-soprano
TANGLEWOOD FESTIVAL CHORUS,
JOHN OLIVER, conductor
Music of Tchaikovsky and Prokofiev
SUNDAY
10:00 AM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — TMC Fellows
2:30 PM, SHED, RECITAL
LEONTYNE PRICE, soprano
DAVID GARVEY, piano
Music of Handel, Marx, Giordano,
Liszt, Poulenc, Hahn, Hoiby,
Bonds, and Dougherty, and spirituals
8:30 PM, CHAMBER MUSIC HALL
TANGLEWOOD MUSIC CENTER
Vocal Recital — TMC Fellows
MONDAY
8:30 PM, THEATRE-CONCERT HALL
BOSTON UNIVERSITY
TANGLEWOOD INSTITUTE
Young Artists Orchestra
Eljl Oue conducting
Program to include
BERLIOZ Symphonie fantasique'
TUESDAY
8:30 PM, CHAMBER MUSIC HALL
TANGLEWOOD MUSIC CENTER
Vocal Recital - TMC Fellows
WEDNESDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Tanglewood Music Center Orchestra
Gustav Meier & Conducting Fellows
conducting
Program to include
WAGNER 'Tannhauser' Excerpts
THURSDAY
NOON, TENT
TALKS AND WALKS
JOEL SMIRNOFF, second violin,
Juilliard String Quartet
8:30 PM, THEATRE-CONCERT HALL
TREVOR PINNOCK, harpsichord
Music of J.S. Bach, Rameau,
and D. Scarlatti
18
19
20
21
22
23
24
25
FRIDAY
7:00 PM, SHED
PRELUDE
GILBERT KALISH, piano
Music of Haydn
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
TREVOR PINNOCK, conductor
JEAN-PIERRE RAMPAL, flute
Music of Handel, Vivaldi, Telemann, and Haydn
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Sunday program)
2:00 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — TMC Fellows
8:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
TREVOR PINNOCK, conductor
ELMAR OLIVEIRA, violin
Music of Vivaldi and Handel
SUNDAY
10:00 AM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — TMC Fellows
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
EDO DE WAART, conductor
ANDRE WATTS, piano
Music of Rachmaninoff and Wagner
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — BUTI Young Artists
MONDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — BUTI Young Artists
TUESDAY
8:30 PM, SHED
TANGLEWOOD MUSIC CENTER
Tanglewood Music Center Orchestra
Leonard Bernstein & Conducting
Fellows conducting
Program to include
SIBELIUS Symphony No, 2
WEDNESDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music/Vocal Music — TMC Fellows
THURSDAY
8:30 PM, THEATRE-CONCERT HALL
ALFRED BRENDEL, piano
Music of Beethoven and Liszt
FRIDAY
7:00 PM, SHED
PRELUDE
MALCOLM LOWE, violin
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA, conductor
PETER SERKIN, piano
Music of Haydn and Brahms
August
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Sunday program)
2:00 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
BUTI Young Artists Orchestra & Chorus
Leonard Atherton & Eljl Oue
conducting
Program to include
BARTOK Concerto for Orchestra
8:30 PM, SHED
THE SERGE & OLGA KOUSSEVITZKY
MEMORIAL CONCERT
BOSTON SYMPHONY ORCHESTRA
LEONARD BERNSTEIN, conductor
Ml DORI, violin
Music of Bernstein and Tchaikovsky
SUNDAY
10:00 AM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music— TMC Fellows
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA, conductor
ALFRED BRENDEL, piano
Music of Knussen and Beethoven
8:30 PM, CHAMBER MUSIC HALL
TANGLEWOOD MUSIC CENTER
Vocal Recital— TMC Fellows
MONDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Tanglewood Music Center Orchestra
Leon Fleisher & Conducting
Fellows conducting
TUESDAY
8:30 PM, THEATRE-CONCERT HALL
JUILLIARD STRING QUARTET
with BERNARD GREENHOUSE, cello
Music of Mozart, Debussy, and Schubert
WEDNESDAY
8:30 PM, THEATRE-CONCERT HALL
BENJAMIN LUXON, baritone
FREDERICK MOYER, piano
SCHUBERT Die schone Mullerin'
THURSDAY
NOON, TENT
TALKS AND WALKS
EMPIRE BRASS
The Internationally-Renowned Quintet
2
3
4
5
FRIDAY
7:00 PM, SHED
PRELUDE
DORIOT ANTHONY DWYER, flute
HAROLD WRIGHT, clarinet
JULES ESKIN, cello
GILBERT KALISH, piano
Music of Carl Maria von Weber
9:00 PM, SHED, RECITAL
A BRASS SPECTACULAR' featuring
CANADIAN BRASS
EMPIRE BRASS
MEMBERS of the
BOSTON SYMPHONY ORCHESTRA
with SEIJI OZAWA, conductor
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Sunday Program)
2:00 PM, THEATRE-CONCERT HALL
FESTIVAL OF CONTEMPORARY MUSIC
FELLOWS OF THE TANGLEWOOD
MUSIC CENTER
Music of Knussen, Wyner, Schuller,
Bainbridge, and Carter
8:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA, conductor
ELIZABETH CONNELL, soprano (Reiza)
Tenor to be announced (Huon)
PHILIP LANGRIDGE, tenor (Oberon)
BENJAMIN LUXON, baritone (Sherasmin)
TANGLEWOOD FESTIVAL CHORUS,
JOHN OLIVER, conductor
WEBER 'Oberon'
SUNDAY
10:00 AM, THEATRE-CONCERT HALL
FESTIVAL OF CONTEMPORARY MUSIC
FELLOWS OF THE TANGLEWOOD
MUSIC CENTER
Music of Britten, Takemitsu,
and Schoenberg
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
NEEME JARVI, conductor
EMANUEL AX, piano
Music of Part, Beethoven, and Bizet
8:30 PM, THEATRE-CONCERT HALL
FESTIVAL OF CONTEMPORARY MUSIC
FELLOWS OF THE TANGLEWOOD
MUSIC CENTER
Music of Feldman, Perle, Abrahamsen,
Dratted, and Andreissen
MONDAY
8:30 PM, THEATRE-CONCERT HALL
FESTIVAL OF CONTEMPORARY MUSIC
FELLOWS OF THE TANGLEWOOD
MUSIC CENTER
Music of Neikrug, Takemitsu, Thorne,
Stout, and Henze
TUESDAY
8:30 PM, THEATRE-CONCERT HALL
FESTIVAL OF CONTEMPORARY MUSIC
JUILLIARD STRING QUARTET
Works by Fine, Dutilleux, and Bartok
WEDNESDAY
8:30 PM, THEATRE-CONCERT HALL
FESTIVAL OF CONTEMPORARY MUSIC
TANGLEWOOD MUSIC CENTER
ORCHESTRA
OLIVER KNUSSEN, conductor
Music of Torke, Saxton,
Takemitsu, and Ruders
THURSDAY
8:30 PM, THEATRE-CONCERT HALL
FESTIVAL OF CONTEMPORARY MUSIC
JOSEPH SILVERSTEIN, violin
PETER SERKIN, piano
Music of Stravinsky, Wolpe,
Takemitsu, and Messiaen
FRIDAY
7:00 PM, SHED
PRELUDE
MEMBERS of the
BOSTON SYMPHONY ORCHESTRA
Music of Tchaikovsky
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
GUNTHER HERBIG, conductor
YO-YO MA, cello
Music of Mozart, Haydn, Tchaikovsky,
and Prokofiev
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Sunday BSO program)
2:00 PM, THEATRE-CONCERT HALL
ISAAC STERN & CHO-LIANG LIN, violin
MICHAEL TREE & JAIME LAREDO, viola
YO-YO MA & MATT HAIMOVITZ, cello
EMANUEL AX, piano
Music of Beethoven, Ravel, and Brahms
8:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
GUNTHER HERBIG, conductor
HORACIO GUTIERREZ, piano
Music of Mozart and Bruckner
SUNDAY
10:00 AM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music/Vocal Music —
TMC Fellows
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SERGIU COMISSIONA, conductor
MALCOLM LOWE, violin
BURTON FINE, viola
Music of Arriaga, Mozart, and Schubert
8:30 PM, THEATRE-CONCERT HALL
ISAAC STERN & CHO-LIANG LIN, violin
MICHAEL TREE & JAIME LAREDO, viola
YO-YO MA & MATT HAIMOVITZ, cello
EMANUEL AX, piano
Music of Kodaly and Brahms
MONDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Young Artists Orchestra
Robert Sirota & Eljl Oue conducting
Program to include
BRAHMS Symphony No. 2
12
13
14
15
16
17
TUESDAY
8:30 PM, THEATRE-CONCERT HALL
BOSTON SYMPHONY CHAMBER
PLAYERS
GILBERT KALISH, piano
Music of Ravel, Loeffler, and Schubert
WEDNESDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — TMC Fellows
THURSDAY
NOON, TENT
TALKS AND WALKS
JOHN OLIVER, conductor,
Tanglewood Festival Chorus
8:30 PM, THEATRE-CONCERT HALL
CHRISTOPHER HOGWOOD,
conductor and harpsichordist
EMMA KIRKBY, soprano
STANLEY RITCHIE, violin
STEPHEN HAMMER, oboe
ENSEMBLE OF ORIGINAL INSTRUMENTS
Cantatas and concertos by
Handel, Vivaldi, and Marcello
FRIDAY
7:00 PM, SHED
PRELUDE
THE COPLEY TRIO
Music of Schubert and Dohnanyi
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
GENNADY ROZHDESTVENSKY, conductor
VIKTORIA POSTNIKOVA, piano
All-Tchaikovsky Program
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Sunday program)
2:00 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Leon Kirchner & Conducting
Tanglewood Fellows conducting
Program to include
STRAVINSKY Symphony in Three Movements
8:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
GENNADY ROZHDESTVENSKY, conductor
VIKTORIA POSTNIKOVA, piano
CHARLES SCHLUETER, trumpet
Music of Prokofiev and Shostakovich
SUNDAY
10:00 AM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music— TMC Fellows
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
CHRISTOPHER HOGWOOD, conductor
ARLEEN AUGER, soprano
CAROLYN WATKINSON, mezzo-soprano
JOHN ALER, tenor
JOHN CHEEK, bass-baritone
TANGLEWOOD FESTIVAL CHORUS,
JOHN OLIVER, conductor
All-Mozart Program
8:30 PM, CHAMBER MUSIC HALL
TANGLEWOOD MUSIC CENTER
Vocal Recital — TMC Fellows
18
19
20
21
22
23
24
MONDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — BUTI Young Artists
TUESDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Young Artists Orchestra & Chorus
Leonard Atherton & Eiji Oue
conducting
Joseph Silverstein, violin
WEDNESDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Tanglewood Music Center Orchestra
Gennady Rozhdestvensky &
Conducting Fellows conducting
Program to include
SHOSTAKOVICH Symphony No. 10
THURSDAY
NOON, TENT
TALKS AND WALKS
CHRISTOPH ESCHENBACH,
pianist and conductor
8:30 PM, THEATRE-CONCERT HALL
CHRISTOPH ESCHENBACH &
TZIMON BARTO, duo-pianists
Music of Brahms, Bartok, and Messiaen
FRIDAY
7:00 PM, SHED
PRELUDE
CHO-LIANG LIN, violin
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
CHRISTOPH ESCHENBACH,
conductor and pianist
All-Beethoven Program
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Saturday program)
2:00 PM, CHAMBER MUSIC HALL
TANGLEWOOD MUSIC CENTER
Vocal Recital— TMC Fellows
8:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
CHRISTOPH ESCHENBACH, conductor
TZIMON BARTO, piano
Music of Prokofiev, Ravel, Satie,
and Tchaikovsky
SUNDAY
10:00 AM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music— TMC Fellows
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEMYON BYCHKOV, conductor
CHO-LIANG LIN, violin
Music of Beethoven, Sibelius,
and Tchaikovsky
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — TMC Fellows
25
26
28
29
30
31
MONDAY
8:30 PM, THEATRE-CONCERT HALL
TANGLEWOOD MUSIC CENTER
Chamber Music — BUTI Young Artists
TUESDAY
TANGLEWOOD ON PARADE
Afternoon events beginning at 2:30 PM
(Gates open at 2:00 PM)
GALA CONCERT AT 9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
TANGLEWOOD MUSIC CENTER
ORCHESTRA
SEIJI OZAWA, conductor
JOHN WILLIAMS, conductor
Program to include
TCHAIKOVSKY 1812' overture
THURSDAY
NOON, TENT
TALKS AND WALKS
WILLIAM CROFUT& BENJAMIN LUXON,
Folk singers of America and the British Isles
8:30 PM, THEATRE-CONCERT HALL
BENJAMIN LUXON &
WILLIAM CROFUT
Program of English and American
folk songs
FRIDAY
7:00 PM, SHED
PRELUDE
CAROL VANESS, soprano
WARREN JONES, piano
Music of Handel, Rossini, and Turina
9:00 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA, conductor
ITZHAK PERLMAN, violin
Music of Brahms and Ravel
SATURDAY
10:30 AM, SHED
OPEN REHEARSAL (Sunday program)
SPECIAL EVENT:
2:00 PM, THEATRE-CONCERT HALL
Cassatt Quartet in Concert
(available to Friends of Tanglewood
at no additional charge)
8:30 PM, SHED
ISRAEL PHILHARMONIC ORCHESTRA
ZUBIN MEHTA, conductor
WOMEN of the TANGLEWOOD FESTIVAL
CHORUS, JOHN OLIVER, conductor
Music of Beethoven and Holst
SUNDAY
2:30 PM, SHED
BOSTON SYMPHONY ORCHESTRA
SEIJI OZAWA, conductor
CAROL VANESS, soprano
THOMAS MOSER, tenor
BENJAMIN LUXON, baritone
TANGLEWOOD FESTIVAL CHORUS,
JOHN OLIVER, conductor
BOSTON BOY CHOIR,
THEODORE MARIER, director
BRITTEN 'War Requiem'
WAIVER
The undersigned, a member of the 1986 session of the Tanglewood Music
Center, agrees:
(1) that the concerts, classes, and other activities of the 1986
session in which the undersigned participates may be broadcast
live and/or recorded for use in radio and television broadcasting
on a non-sponsored basis, and
(2) that all fees, earnings, and payments realized in filming or
taping members of the Tanglewood Music Center in connection with
educational and/or commercial television or radio, if any, may
be donated to the Tanglewood Music Center for the purpose of
establishing the "TMC Members of 1986" Scholarship, this
scholarship to be used to provide fellowships for future members
of the Tanglewood Music Center, and
(3) that the concerts, classes, and other activities of the Music
Center in which the undersigned participates during the 1 986
session may be filmed, video-taped, tape recorded, or otherwise
recorded for use in study, promotion, and publicity on behalf
of the Tanglewood Music Center, and
(M that admission may be charged at concerts which are designated
"benefit concerts" in which the undersigned performs, and
(5) that gate contributions for the benefit of the Tanglewood Music
Center may be solicited for admittance to the Tanglewood Music
Center student performances.
This waiver is given freely and without any expectation of payment for
any of the uses of materials or services described in this waiver.
It is understood that this waiver and permission is given with the consent
of the American Federation of Musicians, obtained by the Tanglewood Music
Center.
SIGNED:
(print last name:
)
DATED:
BANKING INFORMATION
Checks up to $50. may be cashed, upon presentation of student ID
cards (white) at the Lenox National Bank or Lenox Savings Bank.
LENOX NATIONAL BANK 7 Main Street, Lenox
Lobby :
Drive-up Window:
Monday-Fr i day 9:00am to 3:00pm
Monday-Fr i day 9:00am to 4:00pm
LENOX NATIONAL BANK BRANCH
Pittsfield Road (shopping center), Lenox
Lobby :
Dr i ve-up W i ndow
Monday-Wednesday 9:00am to 4:00pm
Thursday, Friday 9:30am to 6:00pm
Saturday 10:00am to 12 noon
same hours as lobby
LENOX SAVINGS BANK Main Street
Lobby:
Dr i ve-up/Wal k-up
Monday-Fr i day 9:00am to 3:00pm
W i ndow :
Monday-Thu rsday 9:00am to 4:00pm
Friday 9:00am to 4:30pm
LENOX SAVINGS BANK BRANCH 1 400 Holmes Road (on Rte. 7 & 20) Lenox
Lobby :
Monday-Wednesday, Friday 9:30am to 5:30pm
Thursday 9:30am to 6:00pm
Saturday 9:30am to 2:00pm
Students who have established accounts at the above banks are, of
course, not limited to the $50. amount. If you need additional funds
later in the summer, have the money sent in the form of a cashier's
check or money order. If you must carry large sums of cash, then
travelers checks are the safest and cost very little.
Memo to:
Members of the Tanglewood Music Center
From: Richard Ortner, Administrator
RE: Pianos
Your attention is called to the following guidelines concerning
the use of piano practice facilities in the TMC dormitories and
on the Tanglewood grounds:
(1) Pianos on stages anywhere at Tanglewood are not to be
used for practice at any time.
(2) Please keep the piano tops closed when the pianos are
not in use. Also, the last person to use the studio
should make sure that the windows are shut.
(3) Pianists in the Fellowship Program have priority for
use of the grand pianos in the Main House and Hayden
Studios at Tanglewood and those at the Hall School as
well.
(M Vocalists preparing for public performances have
priority on the small pianos at the Hall School, and
vocal accompanists share priority on the grands there.
(5) Boston University Tanglewood Institute participants
have priority for the use of the pianos at the West
Street Campus.
(6) Other pianos not in classroom locations are available
to anyone without prior sign-up, and the pianos on the
third floor of the Tanglewood Main House are available
to any pianists on a sign-up basis.
Humidity, wear and tear, and all such things will cause pianos
to go out of tune quickly. Bring the problem to the attention
of the resident Baldwin piano technician, Gretchen Hall. Her
mailbox is in the TMC office in the Main House. In the mailbox
is the Piano Service Book. Record the problem for prompt solu-
tion. For performances or other emergencies inform Richard
Ortner or Carol Woodworth in the Scheduling Office, Main House.
Memo to:
From:
RE:
Members of the 1 98 6 Tanglewood Music Center
Richard Ortner, Administrator
Study tapes of concert performances at Tanglewood
As you know, all concert performances of Tanglewood Music Center
events are taped for study purposes and are available to you in
the TMC Main House Library.
The American Federation of Musicians allows members of the
Fellowship Program and the Boston University Tanglewood Institute
to obtain copies of those chamber music, orchestra and solo per-
formances in which they participate during the summer.
You will be required to sign a statement assuring us that you
will use the cassette for your own private study purposes only,
and you will have to guarantee that under n<a c i rcumstances will
the tape be broadcast or recorded in any form. There will be a
$12.00 charge per concert (i.e. a request for two pieces from two
different concerts will cost $2^.00; a request for two pieces from
the same concert will cost $12.00). The price remains the same
no matter what length work is involved. This charge will go to
offset the costs of taping performances throughout the summer.
Requests must be submitted in writing no later than 5 days after
the performance, with the exception of concerts the final week of
the summer, which must be requested in advance. Students reques-
ting tapes after the 5 day period will be charged an additional
$3-00 late fee. Tape requests received more than 10 days after
the performance date are subject to an additional $6.00 late fee.
To order a copy of your performance, please see Helen Westerfield
on the 2nd floor of the Main House; she will process your appli-
cation.
BOSTON SYMPHONY ORCHESTRA YOUTH ACTIVITIES
Symphony Hall • Boston, Massachusetts 02115 • (617) 266-1492
MEMO TO: TANGLEWOOD MUSIC CENTER STUDENTS
FROM: PAT KROL, COORDINATOR OF DAYS IN THE ARTS
DATE: SUMMER, 1986
Days In the Arts, a youth program of the Boston Symphony Orchestra, will be
in full swing all summer starting July 7. Each week 50 fifth and sixth
graders from Boston, Beverly, Brookline, Cambridge, Framingham, Melrose,
Newton, Pittsfield, Richmond, Hancock, Salisbury, Somerville and Waltham
will spend five days sampling the summer culture of the Berkshires. Housed
at Nichols Hall, Berkshire Christian College, we will be spending time at
Tanglewood, the beach, and other local areas of interest. You won’t be
able to miss us in our "Days in the Arts" t-shirts!
If one of your interests is working with kids, we would welcome your
participation in our program by giving instrumental or vocal demonstrations,
either individually or in ensemble groups, or joining us for sports, games,
or other recreational activities. Feel free to say hello when you see us
at Tanglewood or you can leave your name and information at our desk in the
TMC Office at the Main House.
In addition to myself, the staff this summer is as follows: Carlene Brown,
Assistant Coordinator; Debbie Fietze, Theater; Philip Griffith, Dance;
Barbara Milot, Visual Arts; Steve Newby, Music. We are all housed at
Berkshire Christian College, Nichols Hall. If you have any questions,
please contact me at 637-1600 X 246 or 637-1684.
We really hope you will join us!
NAME:
INSTRUMENT:
RESIDENCE:
TELEPHONE:
PROGRAM IN WHICH YOU ARE ENROLLED:
WAYS YOU WOULD LIKE TO PARTICIPATE
)
TANGLEWOOD MUSIC CENTER
1986 Session
REPERTOIRE SUMMARY
Total number of compositions performed: 186
1986
1985
5
compositions by 5 pre-18th and
century baroque composers
18th
2.69
11.27
12
compositions by 4 classical composers
6.45
7.51
51
compositions by 21 19th century
composers
27.42
22.55
16
compositions by 10 20th century
Romantic composers
Post-
8.60
6.10
6
compositions by 2 20th century
impressionistic composers
3.23
5.16
6
compositions by 3 20th century
atonal composers
3.23
2.81
46
compositions by 25 20th century
miscellaneous composers
24.73
18.78
44
compositions by 38 contemporary
avant garde composers
and
23.65
25.82
100.00%
100.00%
Composers represented
by three
or more works performed
in concert :
Bartok
4
Rachmaninoff
3
Beethoven
6
Ravel
3
Brahms
10
Schoenberg
4
Britten
5
Schubert
6
Copland
3
Shostakovich
3
Debussy
3
Strauss
3
Knussen
3
Stravinsky
4
Mendelssohn
4
Takemitsu
3
Mozart
9
Williams
5
Fellowship chamber music performed:
60.26
39.74
Standard works 47
Contemporary 31
78
100.00%
1986 TANGLEWOOD MUSIC CENTER REPERTOIRE LIST
* indicates
ABRAHAMSEN
ALBINONI
AMLIN
AMRAM
ANDRIESSEN
ANONYMOUS
ANONYMOUS
ARGENTO
ARLEN
ARNOLD
JAN BACH
J.S. BACH
BACH-VIVALDI
W.F. BACH
BAINBRIDGE
BARBER
BARTOK
BEETHOVEN
performance at Tanglewood (whole or partial)
*Marchenbilder
Suite en La for Brass Quintet
*A Lasting Spring
Fanfare
*Symphony for Open Strings
*Five Folk Songs
Sonata die Bankesangerl iedef
*To Be Sung Upon The Water
Stormy Weather
Quintet
Laudes
^Brandenburg Concerto No. 1
Contrapunctus I
Contrapunctus IX
French Suite
Italian Concerto
Komm, Jesu komm
Little g minor Fugue
Orchestral Suite No. 1
Partita in G Major
Sonata, BWV 1031
Concerto
*Sonata for Two Flutes
*Concertante
The Daisies
Hermit Songs
My Lizard
Now Have I Led. . .
Sleep Now
Solitary Hotel
Souvenirs
*Concerto for Orchestra
*Contrasts
Mikrokosmos
Quartet No. 2
*Quartet No. 3
Quartet No. 4
Quartet No. 5
Quartet No. 6
*Sonata for Two Pianos and Percussion
An die feme Geliebte
*Coriolan Overture
Octet
Piano Concerto No. 3
Quar
tet ,
Op.
18,
no .
1
* Quar
tet ,
Op.
18,
no .
2
Quar
tet ,
Op.
18,
no .
4
Quar
tet ,
Op.
59,
no .
1
Quar
tet ,
Op .
59,
no .
2
Quar
tet ,
Op.
59,
no .
3
Quartet, Op. 74
Quartet, Op. 135
Septet
Sonata, Op. 14
Sonata, Op. 31, no. 2
Symphony No . 5
-2-
BEETHOVEN
*Symphony No. 7
32 Variations for Piano
BELLINI
BENNET
BERG
BERGER
BERLIOZ
*Trio, Op. 9, no. 3
Trio, Op. 70, no. 1
*Trio, Op. 70, no. 2
*Trio, Op. 121A
Vaga Luna
All Creatures Now
*Four Lieder, Op. 2
Wind Quartet
*0verture Benvenuto Cellini
BERNSTEIN
*Symphonie Fantastique
Glitter and Be Gay
I Feel Like I'm Not
I Hate Music
Maria
Peter Peter
arr. BISSELL
BITZER
BLAVET
BOEHM
BOISMORTIER
BONONCINI
BORODIN
Quintet from West Side Story
Simple Song
*Cape St. Mary's
*Prelude and Fugue
Sonata no. 2
*Sextet, Op. 30
Concerto No. 2
Per la gloria
*Polovtsian Dances
BOZZA
BRADE
BRAHMS
Quartet No. 2
Sonatine
Two Pieces
Bei dir sind . . .
Clarinet Quintet
Der Jager
Four Songs
Four Songs of Klaus Groth
Gar lieblich hat sich Gesellet
*Harp Songs
*Horn Trio
Intermezzo, Op. 118, no. 1
Intermezzo, Op. 118, no. 2
*Quartet, Op. 51, no. 1
Quartet, Op. 51, no. 2
*Quintet in F minor. Op. 34
*Quintet in G Major
*Quintet, Op. Ill
Sapphische Ode
*Schicksalslied
Sextet, Op. 18
Sextet, Op. 36
*Six Songs
*Six Songs
Sonntag
*Symphony No. 2
Wusst ihr wann mein Kindchen
BRAYTON
BRITTEN
*Sextet
^Ceremony of Carols
*Festival Te Deum
Folksongs
*Four Sea Interludes
*Hymn to St. Cecilia
*Hymn to the Virgin
On This Island
Sally Gardens
-3-
BYRD
Earl of Oxford March
CAGE
CALDARA
The Wonderful Widow of 18 Springs
Sebben, Crudele
Selve amiche
CALVERT
CANTELOUBE
CAPLET
Suite from the Monteregian Hills
Chants D 'Auvergne
Three Songs
*Trois fables de Jean de la Fontaine
CARISSIMI
CARTER
Kanzone "No, no, non si speri
Dust of Snow
*Eight Etudes and a Fantasy
The Line Gang
*Penthode
CHAUS SON
CHEETHAM
CHOPIN
The Rose Family
Les Papillons
Scherzo
Ballade in F
Ballade, Op. 23
Nocturne in c minor
COPLAND
Scherzo in E Major
Scherzo, Op. 31
At the River
Billy the Kid
*Fanfare for the Common Man
Laurie's Song
^Orchestral Variations
Quintet from The Tender Land
Rodeo
*Sextet
Sextet from the Tender Land
CRUMB
Why Do They Shut Me Out Of Heaven
*Madrigal, Book II
DANZI
deFALLA
Wind Quintet, Op. 36, no. 1
*Siete canciones populares espanolas
Three Songs
DEBUSSY
Arabesque
Ariettes Oubliees
Beau Soir
En blanc et noir
Fetes Galantes
Hommage a Rameau
La Cathedrale
La Fille au Cheveux de Lin
*La Mer
*Proses Lyrique
Quartet
Reflets dans l'eau
DELLO JOIO
DONAUDY
*Sonata for Flute, Viola and Harp
Suite Bergamasque
Syrinx
Three Songs
*Song of the Open Road
*0r che le redole...
DOWLAND
DRATTELL
DUKAS
*Vaghissima sembianza
Flow My Tears
*Double Concerto
Fanfare
Three Pieces
I
-4-
DUKE
DUPARC
DURANTE
Six Poems of Emily Dickinson
Four Songs
Preghiera
DVORAK
Vergin, tutto amor
*Bagatelles
Piano Quintet, Op. 81
*String Quintet, Op. 77
Serenade
EAST
EDWARDS
Songs of Nature
Your Shining Eyes
Clouds
Trio
END
ENESCO
EPSTEIN
EWALD
Three Salutations
*Cinq Chansons, Op. 15
*Snow
Quintet No. 1
Quintet, No. 2
Quintet, No. 3
FARNABY
FASOLO
FAURE
Fancies Toys and Dreams
Cangia, cangia
Apres un Reve
Aurore
Dans les ruines...
En Priere
Fantaisie, Op. 79
Ici has
Le Secret
Les Berceaux
Les Roses lf Ispahan
Mandoline
^Melodies de Venise
Nell
Notre Amour
Reve d 'Amour
Piano Quartet, Op. 15
Poemes d'un Jour
FELDMAN
FINE
FITZENHAGEN
FLOYD
FRANCAIX
FRIEDRICK
GABRIELLI
*Piece for Four Pianos
*Par tita
Ave Maria
Jay Bird
Quatuor
American Brass Band Journal
Canzone per Sonare no. 2
Ricercar and Fugue
Sonata Pian e forte
GALLAGHER
GANDOLFI
GAUDETTE
Toccata
^Personae
Lament Over a Lost Lizard Love
The Waves
GAUGER
GERSHWIN
GILBERT & SULLIVAN
*Ga ins bo rough
I Got Plenty of Nothing
Bunthorne's Air
GINASTERA
Poor Wand 'ring One
Sorry Her Lot
Danza del Gaugho Matrero
Sonata
Zamba
-5-
GITKIN
GLANERT
GLUCK
*Three Pieces for Flute and Oboe
*Leviathan
Ch Faro Senza Eurydice
*Iphigenie in Aulis Overture
GODARD
GOUNOD
GREGSON
GRIEG
GRIFFITHS
Suite, Op. 116
Je veux vivre dans ce reve
*Quintet for Brass
Fanfare
Night Wind
HAHN
HAMMERSTEIN
HANDEL
*Five Songs
If I Loved You
Aria
Bel Piacere
Care Selve
Comfort Ye
Concerto for Oboe
He Shall Feed His Flock
Lascia ch'io pianga
Non lo diro col labbro
Ombra Cara
Rejoice Greatly
Quintet, Op. 54, no. 1
Suite from the Royal Fireworks
Weichet Nur
HARBISON
HAYDN
Woodwind Quintet
Quartet, Op. 20, no. 6
Quartet, Op. 76, no. 6
Quartet, Op. 77, no. 1
Sonata in E-flat
HENZE
HERMAN
HETRICK
HINDEMITH
Symphony No. 60
Symphony No. 93
*Symphony No. 102
*Fandango sopra un basso del Padre Soler
Ribbons Down My Back
*0ctet
Four Songs
*Symphonic Metamorphosis
Nine English Songs
HOLBORNE
HONEGGER
HORVIT
HOVHANESS
HUNDLEY
Elizabethan Dance Suite
Danse de la Chevre
^Interplay
Sharagan and Fugue
Bartholomew Green
Come Ready and See Me
Sweet Suffolk Owl
The Astronomers
HUNT
HUS A
Mansion Builder
Divertimento for Brass
IBERT
IVES
Capriccio
Ann Street
At the River
Charlie Rutlage
Children's Hour
Down East
Four Songs
Like a Sick Eagle
Memories
Piano Trio
IVES
*Six Songs
Songs My Mother Taught Me
The Cage
The Greatest Man
The Housatonic at Stockbridge
Things Our Father Loved
Tom Sails Away
Two Little Flowers
JACOB
Bagatelles for Tuba
*Salute to U.S.A.
JAN ACER
*The Diary of One Who Vanished
*Mladi
JOLIVET
Alla Rustica
JONES
Four Movements -
KERN
Old Man River
KIRCHNER
*Piano Trio
KLUGHARDT
*Quintet, Op. 79
KNUSSEN
*Coursing
**Fanfares for Tanglewood
*Four Little Monsters
KODALY
*The Deaf Boatman
KRAFT
*Suite for Percussion
KRASNOW
I Antiques
Spaced Out
KROMMER
*Part it a- Serenade
KUNIEDA
^Elevation II
LAMONT
String Trio
LeBARON
Rite of the Black Swan
LEONCAVALLO
*Mattinata
LERNER/LOWE
Show Me
LIGETI
Ten Pieces
LIONNET
Levitical Fanfare
Piece for String Orchestra
LISZT
Etude in D-flat
Etude in F minor
Etude la Campanella
Hungarian Rhapsody No. 10
*Three Sonnets of Petrarch
LLOYD
*Feuding Fiddles
LOESSER
I've Never Been in Love Befon
LOEWE
*Three Ballads
MAHLER
*Five Ruckert Songs
Four Songs
MAUER
Three Pieces
MENDELSSOHN
Centone III
**Concer tpiece No. 1
It is Enough
** Octet
Quartet, Op. 44, no. 1
Quartet, Op. 44, no. 2
Piano Sextet, Op. 110, no. 1
*Piano Trio in d minor
Tarantella
*Violin Concerto
MENOTTI
Bob ' s Aris
Steal Me Sweet Thief
MILLER
Little Brown Jug
-7-
MONTEVERDI
MORET
MOZART
Con che soavita
Rondeau
Andante, K. 315
Batti, batti . . .
^Clarinet Quintet
Dans un bois
Deh vieni non tardar
^Divertimento No. 15
Ein Madchen oder Weibchen
Flute Quartet
Isis and Osiris
L 'ho perduta . . .
Non so piu
Pamina's Death Scene
*Piano Quartet, K. 478
Piano Trio, K. 502
*Piano Woodwind Quintet
Quartet, K. 421
Quartet, K. 458
Quartet, K. 465
Quartet, K. 575
*Quintet, K. 515
*Quintet, K. 516
Serenade No. 10
Serenade No. 11
Sinfonia Concertante, K. 364
^Symphony No. 23
Symphony No. 29
Symphony No. 31
*Symphony No. 39
*Tr io , K. 498
Voi che sapete
NEIKRUG
NIELSEN
*Mobile
Serenato-Invano
*Wind Quintet, Op. 43
OBRADORS
^Classical Spanish Songs
PAISIELLO
PARAM-VIR
PASATIERI
PEDRELL
Chi vuol ta zingarella
*Music for Two Chamber Orchestras
Four Songs
Hispaniques
Pastorales
PERGOLESI
PERLE
PEZEL
Se tu m'ami. . .
*Wind Quintet
Sonata No. 22
Three Pieces
POULENC
Banalities
Chansons Gaillards
Fiancailles pour Rire
La Courte Paille
Metamorphoses
*Seixtet
Sonata
*Tel Jour Telle Nuit
PROKOFIEFF
Piano Sonata, Op. 28
*Quintet, Op. 39
PROKOFIEFF
PROVENZALE
Violin Sonata, Op. 80
Deh rendetemi...
-8-
PUCCINI
Quando m'en vo
If Music Be the Food of Love
King Arthur
Strike the Viol
Trumpet Tune and Air
Trumpet Voluntary
Voluntary on Old 100th
RACHMANINOFF
Etude, Op. 39, no. 5
*Five Songs
Piano Concerto No. 2
Prelude, Op. 3
Prelude, Op. 32, no. 12
Prelude in G minor
Six Duets for Piano
RAMSOE
RAVEL
*Six Songs
*Symphony No. 2
Quartet, No. 5
Five Greek Folksongs
*Introduction and Allegro
*Quar tet
*Le Tombeau de Couperin for Wind Quintet
REICH A
RENWICK
RODRIGO
Quintet for Winds
Dance
Con que le lavare?
Cuatro Madrigales Amatorios
De Donde venis, amore?
Vos me matastes
ROREM
Early in the Morning
Walt Whitman Songs
The Sandman
ROSSINI
ROSSINI-WEST
ROUSSEL
*Four Songs from Soirees Musicales
Dunque io son
Four Songs
Trio
RUDERS
RUGGIERO
RUGGLES
RUNSWICK
RUOKIS
^Manhattan Abstraction
Allegro
Toys
Strauss in the Doghouse
Elegy
Seven Pieces for Solo Violin
Sol iloquy
SAINT SAENS
SAXTON
SCARLATTI
*Fantaisie for Violin and Harp
*Concerto for Orchestra
Cara, cara e dolce
Gia il sole
SCHEIDT
Toglietemi
Battle Canzona
SCHMIDT
SCHOENBERG
*Canzona Bergamasca
Variations on a Negro Folk-Song
*Five Pieces for Orchestra
*Ode to Napoleon
*Suite, Op. 29
*Verklarte Nacht
SCHUBERT
Auf dem Strom
Du bist die Ruh
Die Schone Mullerin
Er Ist's
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SCHUBERT
Four Songs from Schwanengesang
*Five Songs
Five Songs
*Five Songs
Frulingsglaube
Geheimnis
Gesange des Harfners
Impromptu, Op. 90
Lachen und Weinen
Litanei
*0ctet
Piano Trio, Op. 100
Quartet, No. 13
Quartet, Op. 29
Quartet, Death and the Maiden
Quintet, Op. 163
*Rosamunde Overture
Schafers Klagelied
Sonata, Op. 120
Standchen
Suleika
Sukeika' zweiter Gesang
* Symphony No. 2
Symphony No . 5
*Trout Quintet
Wanderers Nachtlied
SCHULLER
*Bass Quartet
^Concertino da Camera
SCHUMANN
Woodwind Quintet
Der hist wie eine Blume
Der Nussbaum
Die Lotusblume
Frauenliebe und Leben
Im Rhein
In der Fremde
In der Nacht
Kinderszenen
Lied der Suleika
Mar ienwu rmcher
SCHUTZ
SEIBER
SHOSTAKOVICH
Mignon Lieder
Papillons
*Piano Quartet
*Piano Quintet
Symphonic Etudes
Widmung
*Psalm 100
*Three Hungarian Folk Songs
*Four Romances, Op. 46
***Quartet No. 7
Quartet, Op. 49, no. 1
*Symphony No. 10
SIBELIUS
*Six Songs
*Symphony No. 2
SMETANA
Quartet, no. 1
*Piano Trio, Op. 15
SONDHEIM
STANFORD
Send in the Clowns
*The Blue Bird
*Songs of the Fleet
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STOUT
STRADELLA
STRAUSS
STRAVINSKY
SUSATO
TAKEMITSU
TCHAIKOVSKY
TELEMANN
THOMPSON
THORNE
TORELLI
TORKE
TOSTI
TURPIN
VAUGHAN-WILLIAMS
arr. VAUGHAN-WILLIAMS
VERDI
VIVALDI
VON SUPPE
VORES
WAGNER
WALTON
WEBER
WEBERN
WEELKES
WEILL
WILLCOCKS
WILLIAMS
*Cinq Visages de LaForgue
Piano Trio
Pieta signore
*Feierlicher Einzug
*Five Songs
Five Songs
*Serenade, Op. 7
Zueignung
*Firebird Suite
*In Memoriam Dylan Thomas
*Le Boisu de la Fei
^Symphony in Three Movements
Renaissance Dances
Suite for Brass
*Dream/Window
*Rocking Mirror Daybreak
*WaterWays
*1812 Overture
Piano Concerto No. 1
*Romeo and Juliet, Overture
Souvenir Sextet
Fantaisie, No. 8
*Alleluia
*Passion of the Heart
Tu Lo Sai
*Ecstatic Orange
*Ancora !
*L'alba separa dalla luce l’ombra
Ragtime Nightmare
*Fantasia on a Theme of Thomas Tallis
Four Last Songs
*The Turtle Dove
*0verture La Forza del Destino
*Laude alia Vergine Maria
Sei Romanze
Concerto in C Major
The Four Seasons
Poet and Peasant
*Hammer and Darkness, Mirror and Knife
*Tannhauser: Overture and Venusberg Music
Old Sir Falk
Three Poems of Edith Sitwell
*Euryanthe Overture
*0beron
*Six Pieces for Orchestra
Centone IV
*Gloria
Mack the Knife
Youkal i
*Five Folk Songs
*E.T. Selections
*Liberty Fanfare
*01ympic Fanfare and Theme
*Star Wars Selections
*Yoda's Theme
mm
-11
WOLF
Der Musikant
Eichendorf Lieder
WYNER
Mausfallen Spruchlein
*Six Songs from the Italian Liederbook
Exeunt
*0n This Most Voluptuous Night
YIM
ZINDARS
*Moments of Rising Mist
Quintet
Live Music
Archive
Librivox
Free Audio
Metropolitan Museum
Cleveland
Museum of Art
Internet
Arcade
Console Living Room
Open Library
American
Libraries
TV News
Understanding
9/11